COF-CAIIFO/?^      ^ 


OFFICE  OF  INDIAN  AFFAIRS 


SOCIAL  PLAYS 

GAMES,  MARCHES,  OLD  FOLK  DANCES 
AND  RHYTHMIC  MOVEMENTS 

FOE  USE  IN  INDIAN  SCHOOLS 


STATE  NORMAL  SCHOOL 

LOS  ANGELES, 


WASHINGTON 

GOVERNMENT  PRINTING  OFFICE 
1911 

o  5- 


This  publication  is  distributed  free  only  to  the 
officers  of  the  United  States  Indian  Service.  Per- 
sons desiring  copies  for  their  personal  use  may  ob- 
tain them  from  the  Superintendent  of  Documents, 
Government  Printing  Office,  Washington,  D.  C., 

for  10  cents.  . 
2 


i 


CONTEXTS. 


Page. 
Preface 7 

Introduction 9 

Suggestions  in  equipment  for  assembly  room  or  gymnasium  games 11 

Reference  books 11 

Suggestions  for  programs • 11 

Assembly  hall  and  gymnasium 11 

Employees'  rooms 12 

Singing  games 12 

The  water  mill 12 

Tramp,  tramp 13 

Come,  take  a  little  partner 13 

The  duck  game 13 

The  farmer 14 

Bees 14 

Over  field  and  meadow + 14 

The  mulberry  bush 15 

Charley  over  the  water 15 

Green  gravel 15 

King  around  a  rosy 16 

The  King  of  France 16 

Old  Dan  Tucker 17 

Catch  the  squirrel 18 

Marching  'round  the  valley 18 

Hunting 19 

Did  you  ever  see  a  lassie 19 

Draw  a  bucket  of  water 20 

This  is  the  lady 20 

Going  over  the  mountain 

Leaves  are  green 

London   bridge 

The  muffin   man 

Nuts  in  May 

Round  and  round  the  village 

King  William 

The  miller 

The  needle's  eye 

Peeping   at    Susie 

Shoot  the  buffalo 

The  farmer  in  the  dell 

I'd  like  to  have  a  partner 

The  party 

3 


4  CONTENTS. 

Page. 

Marches  with  rhythmic  steps 29 

Grand   march 29 

Hour-glass  figure 30 

The  arbor  march 30 

Serpentine  figure 30 

Sicilian  circle 31 

Varsuviana 31 

March  with  rythmic  steps 31 

Calisthenic  marches 32 

Leg  movements  in  marching 32 

Rythmic  exercises 32 

Touch  step 32 

Change  step 32 

Balance  touch  step • 32 

Point  step  outward 32 

Double  change  step i 33 

Double  touch  step 33 

Cross  balance  step 33 

Six-count  touch  step 33 

Cross  balance  step  (with  trunk  movement) 33 

Klapdans 33 

Cross  balance  step  (with  trunk  and  arm  movement) 33 

Baby  polka 34 

Polka  step 34 

Rocking  step : 34 

Bean  porridge  hot 34 

Shoemakers'  dance 34 

Washerwoman 34 

Lot  first  Tod 35 

Hopp  Morr  Annika 1 35 

Games  without  singing 35 

The  squirrel  game 35 

Floor  tag 36 

Animal  blind  man 36 

Animal  chase 36 

Baste  the  bear 36 

Letting  out  the  doves 36 

Master  of  the  ring 37 

Maze  tag 37 

Odd  man's  cap 38 

Old  buzzard 38 

Partner  tag 39 

Pebble    chase 39 

Puss  in  the  circle 40 

Round  and  round  went  the  gallant  ship 40 

Sardines 41 

Slap  catch 41 

Slipper    slap 41 

Spooning 42 

Stagecoach - —  42 

Stoop  tag 43 


CONTENTS.  5 

Games  without  singing — Continued.  Page. 

Third    slap 43 

Tossing    wands 43 

Wee  bologna  man 44 

Whip  tag 44 

Find  the  ring 45 

Old  woman  from  the  wood 45 

Spin  the  platter 45 

Thimble  ring 46 

Water  sprite 46 

Ringmaster 46 

Jack  be  nimble 47 

Ruth  and  Jacob 47 

Japanese  crab  race 47 

Lady  of  the  land 47 

Last  couple  up 48 

Ki-yi 49 

Fox  and  geese 50 

Frog  in  the  middle 50 

Garden  scamp 50 

Going  to  Jerusalem j. 50 

Guess  who 51 

Gypsy 51 

Bodyguard 52 

Chicken  market 52 

Catching  the  cane ! 52 

Crossing  the  brook 53 

Dumb-bell   tag 53 

The  farmer  is  coming 53 

Bear  in  the  pit 53 

Black  Tom 54 

Circle  race 54 

Exchange 54 

Flowers  and  the  wind 55 

Follow  chase 55 

Parlor  games : . 56 

Where  is  your  letter  going 56 

Shadow  portraits 56 

The  house  that  Jack  built 56 

Birds  have  feathers 57 

My  grandfather's  trunk ' 57 

Alliteration 57 

A  good  fat  hen 58 

Auction 58 

Crooked  answers 58 

Given  wordsi : 59 

A  peanut  gathering 59 

Slicing  flour 59 

Shaking  Quaker 60 

Hunt  the  ring 60 

The  rule  of  contrary 60 

The  rat  hunt  _.                                                                             61 


6  CONTENTS. 

Parlor  games — Continued.  Page. 

The  bag  of  luck 61 

The  silent  concert 61 

The  cushion  dance 62 

Silent  Quaker L 02 

The  cobweb  party 62 

Throwing  the  handkerchief 63 

The  giantess 63 

The  game  of  trussed  fowls 63 

The  curtain  donkey 64 

The  promenade  concert 64 

Bring  back  what  you  borrow 65 

Hurly  burly 65 

Flying  cloud 65 

How  do  you  like  your  neighbor 66 

Spin  the  plate 66 

Hang  tag 66 

High  windows 66 

Hound  and  rabbit 66 

How  many  miles  to  Babylon? 67 


PREFACE. 


This  publication  has  been  compiled  from  the  results  of  practical 
experience  in  the  work  of  instruction  in  the  Indian  schools.  It  is 
believed  that  it  is  a  comprehensive  and  practical  manual  that  will  be 
of  material  assistance  to  the  teacher,  but  every  teacher  is  urged  to 
forward  suggestions  in  order  that  the  manual  may  be  improved  when 
a  second  edition  is  issued. 

One  word  of  caution  is  urged  as  to  the  use  of  this  publication^  The 
teachers  should  look  at  it  in  the  light  of  suggestions  rather  than  as 
dogma  from  which  they  should  never  deviate,  and  I  should  not  want 
any  teachers  to  feel  that  they  could  not  take  up  any  phases  of  the  sub- 
ject or  any  methods  of  instruction  which  are  not  contained  in  this 
publication.  Conditions  vary  greatly  in  different  localities  and  in 
the  same  locality  at  different  times  and  the  teacher  must  ever  be  alert 
to  meet  these  changes.  Perhaps  this  word  of  caution  is  unnecessary, 
but  the  experience  of  many  school  systems  goes  to  show  that  it  can  not 
be  too  strongly  emphasized. 

R.  G.  VALENTINE,  Commissioner. 


SOCIAL  PLAYS  AND  GAMES. 


INTRODUCTION. 

Begin  social  development  early  in  the  lives  of  children  through  the 
medium  of  games  and  plays.  Teach  them  the  value  of  strong  initi- 
ative power  in  every  conscious  act.  Many  of  our  children  do  not 
possess  the  ability  to  mingle  readily  and  pleasantly  with  others, 
indeed  they  are  more  often  painfully  backward  in  giving  expression 
to  the  best  that  is  in  them  because  of  this  timidity, 

Through  the  development  of  the  social  instinct  in  plays  and  games 
the  shrinking,  fearful  child  is  constrained  to  assert  himself,  the 
brazen,  impudent  child  learns  that  there  are  others  beside  himself, 
and  the  unpopular  child  becomes  popular  and  better  pleased  with  his 
unfoldment  and  gathering  strength. 

Games  and  plays  have  an  important  educational  value.  The  sense 
perceptions  are  quickened,  the  motor  powers  are  strengthened,  pow- 
ers of  volition,  inhibition,  and  accuracy  are  gained  through  them. 
By  their  agency  is  acquired  a  balanced  power  of  will,  the  love  of  fair 
play,  and  a  sense  of  true  moral  virtues. 

By  the  use  of  games  and  plays  Indian  children  may  be  brought 
forth  from  their  conservative  hiding  place  to  master  the  essentials 
of  our  civilization,  to  take  on  a  more  aggressive  habit  and  come 
naturally  and  freely  into  the  expression  of  their  powers  exempt  from 
fear,  false  shame,  and  prudery.  Teach  the  boy  and  the  girl  to  step 
forth  with  a  bold,  fearless  initiative  in  the  right  regardless  of  criti- 
cism. 

Many  teachers  admit  that  there  is  inherent  in  the  average  pupil  an 
unfortunate  dread  of  ridicule  from  his  fellow-pupils.  To  cultivate 
the  opposite  tendency  is  of  course  the  remedy.  To  accomplish  this 
no  better  way  can  be  found  than  through  the  subtle  and  penetrating 
influence  of  social  games,  wherein  the  child  forgets  his  physical 
awkwardness  in  joyous  feeling. 

In  social  exercises  it  is  highly  essential  that  adults  take  part  in  the 
enjoyment  of  games  with  the  children.  The  benefit  derived  from  this 
indulgence  more  than  repays  by  its  renewal  of  health  and  good  spirits. 
We  must  not  be  too  slow  to  learn  the  great  value  of  recreation  in 
moderation  for  the  yomng  and  the  old.  The  recuperative  value  of 

9 
64630°— HT— 2 


10  SOCIAL  PLAYS   AND   GAMES. 

short  periods  of  relaxation  when  the  social  affections  are  cultivated  in 
people  as  they  should  be  can  not  be  measured. 

In  a  school  of  125  children  make  at  least  three  divisions  for  social 
training;  the  little  ones  should  have  games  and  plays  in  the  afternoon 
instead  of  at  night.  The  other  two  groups  may  alternate  and  be 
classified  according  to  age  and  maturity  instead  of  grade.  Make 
provision  for  this  training  in  the  day  school.  Clear  the  floor  of  the 
schoolroom  occasionally,  if  the  seats  are  on  strips,  and  have  social 
games  for  the  edification  of  the  children,  sending  them  to  their  several 
homes  with  a  glad  heart  and  a  more  kindly  feeling  toward  the  school. 

The  play  instinct  in  children  varies  according  to  age.  The  young 
child  enjoys  games  where  there  is  much  repetition,  where  there  is 
impersonation,  and  where  there  is  a  direct  appeal  to  his  dramatic 
sense — as,  for  instance,  where  he  imitates  the  lion,  kangaroo,  or  ele- 
phant in  the  circus.  His  games,  of  necessity,  must  be  simple  and 
suited  to  all  of  the  undeveloped  powers  except  the  imagination, 
reaching  the  climax  quickly  without  taxing  the  attention  and  physical 
endurance. 

Later  on  the  child  outgrows  the  "  baby  "  plays,  his  games  take  on  a 
more  active  form,  and  are  more  complicated  as  his  reasoning  powers 
develop.  This  is  the  age  of  rhymes  and  formulas  in  games  and 
where  individual  initiative  and  daring  action  is  taken. 

After  the  periods  for  simple  games  have  passed,  the  powers  of 
reasoning  are  developed,  the  judgment  is  more  mature,  and  a  closer 
organization  is  desired.  Then  begins  team  work  and  the  table  games 
of  the  parlor,  with  the  accompanying  realization  of  the  value  of 
recreation  and  mental  sunshine,  which  in  many  instances  continues 
on  through  adult  life. 

The  aid  in  the  child's  development  at  different  periods  can  be 
understood  and  appreciated  only  by  those  teachers  who  have  a  regard 
for  symmetrical  development  and  who  are  particularly  interested  in 
having  the  young  enjoy  youth  more  with  a  correct  emotional  stimulus 
or  an  occasion  for  hearty  laughter.  The  teacher  of  games  should 
come  to  his  work  with  the  expectation  of  getting  much  pleasure  from 
them  himself  and  should  not  hesitate  to  participate  in  them,  for- 
getting the  notion  that  he  has  long  since  passed  the  time  when  "  a 
little  nonsense  now  and  then  "  was  pleasure. 

Before  attempting  marches  and  plays  where  there  are  large  num- 
bers to  manipulate,  give  many  special  drills  in  floor  formations,  in 
circles,  concentric  circles,  lines,  squares,  flank  ranks,  etc.  Require 
obedience  to  the  commands  of  the  floor  manager  and  attention  to  the 
game.  Teach  politeness  to  one  another  in  selection  of  partners  and 
in  attention  to  strangers  and  older  persons.  The  child  should  be 
taught  consideration,  for  others  while  he  is  enjoying  himself. 


SOCIAL   PLAYS  AND   GAMES.  11 

SUGGESTIONS    IN   EQUIPMENT    FOR    ASSEMBLY    ROOM 
OR  GYMNASIUM  GAMES. 

Tennis  balls. 

3  basket  balls. 
2  handballs. 

2  footballs. 

8  dozen  dumb-bells.     (Use  as  bean  bags  in  passing  games.) 

Indian  clubs.  •)„ 

LUse  as  tenpins. 

4  dozen  croquet  balls,  j 

1  dozen  wands. 

120  bean  bags,  plain. 

120  bean  bags  of  different  colors. 

1  to  2  wire  baskets  (wastebaskets). 

1  to  3  hockey  balls. 

12  sticks  for  odd  man's  cap. 

A  collection  of  music  for  rhythmic  steps,  games,  and  movements. 

Credit  must  be  given  for  a  number  of  the  games,  folk  dances,  and 
rhythmic  movements  included  in  the  outline  which  follows  to  the 
Oliver  Wendell  Holmes,  the  Boston  Normal,  the  Marshall,  and 
other  schools  in  Boston ;  to  the  New  York  Training  School,  in  New 
York;  to  Mrs.  Mary  C.  Williams,  of  the  Albuquerque  School,  in 
New  Mexico,  for  the  old  Spanish  dance  (Varsuviana)  and  the  im- 
proved form  of  the  Sicilian  circle;  and  to  the  teachers  of  various 
other  schools  throughout  the  Indian  country,  where  the  game  is  used 
as  a  means  toward  alertness  in  mental  as  well  as  physical  growth. 

In  any  one  of  the  list  of  books  for  reference  may  be  found  an 
endless  variety  of  games  suitable  for  use  in  social  training  where 
there  are  large  numbers  to  control  and  entertain.  The  Bancroft, 
Harper,  and  Spalding  collections  are  perhaps  the  best  where  it  is 
not  practicable  to  have  a  complete  library  of  games  and  plays. 

REFERENCE  BOOKS. 

Games  for  thp  Playground,  Home,  School,  and  Gymnasium,  by  Jessie  H.  Ban- 
croft. Macmillan  Company,  New  York. 

One  Hundred  and  Fifty  Gymnastic  Games,  by  Carrie  A.  Harper,  Boston 
Normal  School  of  Gymnastics.  George  H.  Ellis  Company,  Boston. 

Spalding  Indoor  and  Outdoor  Gymnastic  Games.  American  Sports  Publish- 
ing Company,  21  Warren  street.  New  York. 

Plays  and  Games  Indoors  and  Out,  by  Belle  Ragnar  Parsons.  A.  S.  Barnes 
Company,  New  York. 

Johnson's  Education  by  Plays  and  Games. 

Games  and  Songs  of  American  Children,  by  William  Wells  Newell.  Harper 
Brothers  &  Co.,  New  York. 

The  G.  Emil  Elliot  Collection  of  "old  favorites"  in  music.  G.  Schirmer,  35 
Union  square,  New  York.  (Paper  covers,  $1.)  (In  this  collection  will  be 
found  music  suitable  for  marches,  fancy  steps,  drills,  etc.) 

SUGGESTIONS    FOR   PROGRAMS. 

ASSEMBLY  HALL   AND   GYMNASIUM. 

(1)  Grand  march.  Pass  ball.  Old  folk  dance,  Dan  Tucker.  Sicillian  circle. 
Marching  'round  the  valley. 


12 


SOCIAL  PLAYS   AND   GAMES. 


(2)  Marching  down  to  old  Quebec.     Last  couple  up.     Happy  is  the  miller. 
Calisthenic  march.    The  needle's  eye. 

(3)  March  with  rhythmic  motions.    King  William.    Catch  the  squirrel.    Toss- 
ing wands.     Blind  man's  buff.     Snap. 

In  many  of  the  schools  the  pupils  are  invited  to  employees'  rooms  or 
to  the  play  rooms  at  monthly  intervals  to  spend  a  social  evening. 
These  gatherings  are  very  interesting  and  give  a  chance  for  teaching 
children  the  rudiments  of  simple  entertainment  on  a  small  scale. 

Flinch,  pit,  bird  center,  tiddledy  winks,  checkers,  crokinole,  domi- 
noes, and  other  table  games  are  played  and  enjoyed. 

EMPLOYEES'   BOOMS. 

(1)  Find  the  ring.     Hurly-burly.    A  big  fat  hen.     Pinning  the  donkey's  tail. 

(2)  Dumb   crambo.     Derby   jig.     Cross   questions.     Bring  back   what   you 
borrow. 

(3)  Flying  cloud.    Button.    Peter  Coddle's  trip  to  New  York.    Fruit  basket. 

(4)  Riddles  or  charades.    Music.    Table  games,  flinch,  etc. 

SINGING   GAMES. 

THE   WATER  MILL. 


J     I     H..  ,1  j.i.1   J    J 


Come    chil-dren   stand     a  moment  still,   And  we  will  make  a      lit  -  tie  mill. 
The      mil-ler       lets    the    water     in;     And   on  -  ly  lis  -  ten    what  a  din! 


The    riv-er   nev-er    rests   you  know,     Its     ti-ny  waves  rock,      to    and    fro. 
While  round  and  round  the  mill  wheel  goes,  The  roar-ing  wa-ter  cease-less  flows, 


And  when  the    wheel    goes  round  and  round,    Then  you  will    hear    this    sound: 
And  when  the    wheel    goes  round  and  round,    Then  you  will    hear    this   sound: 


"i'    J  J.  U  ' 

=iH^ 

^9 

4  J  41 

Clip,    clap,   clip,  clap,    clip,  clap; 
Clip,    clap,    clip,  clap,     clip,  clap; 


clip,    clap,  clip,    clap,  clip,    clap, 
clip,    clap,  clip,    clap,  clip,    clap, 


Pf 


J. 


Clip,     clap,    clip,  clap,    clip,  clap,     clip,  clap,  clip,   clap,    clip,    clap. 
Clip,     clap,    clip,  clap,    clip,  clap,     clip,  clap,  clip,   clap,    clip,    clap. 

The  children  form  concentric  circles;  the  inner  circle  or  circles 
stand  still  while  the  first  four  lines  of  each  verse  are  sung;  at  the 
words  "  When  the  wheel  goes  round  and  round,"  they  circle  around 


SOCIAL  PLAYS  AND   GAMES.  13 

with  clasped  hands  while  the  outer  circle  stands  still,  clapping  in 
time  to  the  chorus.    A  very  interesting  game  for  young  children. 

TRAMP,   TRAMP. 
[Music  in  Hailmann's  Song  Book.] 

Let  the  feet  go  tramp,  tramp ! 
Let  the  hands  go  clap,  clap,  clap! 
Let  the  fingers  beckon  thee; 
Qorne,  dear  friend,  and  skip  with  me. 

La,  la,  la,  la,  la,  la,  la, 
La,  la,  la,  la,  la,  la,  la, 
La,  la,  la,  la,  la,  la,  la, 
La,  la,  la,  la,  la,  la,  la. 

One  child,  or,  if  the  number  of  players  is  large,  several  children, 
stand  in  the  center  of  the  ring.  All  sing.  At  "  Tramp,  tramp !  "  and 
"  Clap,  clap!  "  all  stamp  and  clap  in  time.  At  the  "  Fingers  beckon 
thee,"  the  children  in  the  center  choose  new  partners,  then  all  skip 
around  the  room  to  the  chorus.  The  ones  chosen  last  enter  the  center 
and  the  game  continues. 

COME  TAKE  A  LITTLE  PARTNER. 

[Music  in  Hnbbard  Song  Book.] 

Come  take  a  little  partner 

From  out  this  happy  baud 
And  make  a  bow  before  her 

And  take  her  by  the  hand. 

Tra.  la,  la,  la,  la,  la,  la, 

Tra,  la,  la, 

Tra,  la,  la,  Tra,  la,  la, 

Tra.  la,  la,  la,  la,  la,  la, 

Tra,  la,  la,  Tra,  la,  la,  Tra,  la,  la. 

Players  stand  in  a  circle  with  one,  or  several,  if  the  number  is  great, 
in  the  center.  The  words  of  the  song  are  self-explanatory.  At  the 
chorus  all  skip. 

THE   DUCK   GAME. 

To  be  played  to  the  tune  of  The  Sailor  Boy. 
[Words  and  music  in  Hailmann's  Songs.] 

The  players  hold  hands  and  circle  rapidly  while  singing.  After 
the  last  verse  one  of  the  players  breaks  the  circle  and  with  his  neigh- 


14 


SOCIAL,  PLAYS  AND   GAMES. 


bor  raises  his  hand  high  to  form  an  arch,  calling  "  Bid !  bid !  bid !  " 
to  the  time  of  the  music,  which  is  the  call  for  ducks.  The  players  on 
the  opposite  side  of  the  circle  proceed  to  pass  through  this  arch,  the 
entire  circle  following,  all  holding  hands  and  answering  "  Quack ! 
quack !  quack ! "  When  all  have  passed  through,  they  join  hands 
and  the  game  continues. 

THE   FARMER. 
[Words  arid  music  in  Hubbard  Song  Book.] 

Children  form  a  circle  at  the  words  "  Look  you  so,  so  does  the 
farmer."  All  make  suitable  motions  for  the  occupation  represented. 

BEES. 
[Words  and  music  in  Hailmann's  Songs.] 

Players  form  a  circle.  Outside  of  the  circle  stands  a  group  of 
children  one  to  represent  the  bee,  the  bird,  child,  etc.  These  in  their 
turn  should  sing  the  answers  to  the  verses,  performing  motions  suit- 
able to  the  words — i.  e.,  the  bee  may  fly  about  sipping  honey  from  the 
extended  hands  of  the  players  as  it  sings. 

OVER  FIELD   AND   MEADOW. 


n  j-  j 


^^ 


O-ver    field    and  mead-ow,  Where    the    dai  -  sies    grow,  Up    and  down  I  wan-der 


J  J'J3 


£F^ 


J 


Sing -ing  as  I    go.    They  who   see  me  rov-ing  think  me    all   a -lone. 


FT 

=F= 

J    J  J   J1] 

K  

\  h  1 

,  ^Vl     J 

to1*— 

• 

=^= 

J          •>      •         .=  =  J_     J      *»            ^r 

But     the     birds       are    with    me.  Hark!       their     mer-ry     tunes,  Tra,   la,  la,         la. 


Tra,  la,     la,      la,  Tra,   la,  la,  Tra,  la,  la,  Tra,   la,  la,  la,  Tra,   la,    la,    la,  Tra,  la,  la,  la,  la. 


Players  choose  partners  and  march  in  single  file  during  the  sing- 
ing of  the  verse  and  the  refrain.  Arch  hands  with  partner,  turn  to 
the  left  three  steps,  reverse  changing  hands,  turn  three  steps,  forward 
with  partner  two  steps,  backward  two  steps,  forward  six  running 
steps.  Form  single  file  and  continue  as  before. 


SOCIAL  PLAYS  AND   GAMES.  15 

THE  MULBERRY  BUSH. 
[Words  and  music  in  Hailmann's  Songs.] 

The  players  stand  in  a  circle,  clasp  hands,  and  circle  around,  sing- 
ing the  first  verse. 

In  the  second  and  alternate  verses  the  action  indicated  by  the 
words  is  given  in  pantomime.  In  the  words  of  the  chorus  the  play- 
ers spin  around  very  rapidly. 

CHARLEY  OVER  THE  WATER. 

The  players  stand  in  a  circle.  One  player  is  chosen  to  be  Charley. 
If  there  be  more  than  20  players,  have  several  Charlies.  Charley 
stands  in  the  center.  The  other  players  dance  around  him,  singing: 


:  JTJ  j  I  j  \\  b  ^n   .1 


Char   -    ley      o  -  ver     the       wa  -  ter,          Char  -  ley    o  -  ver       the 


£ 


££ 


Char    -    ley        catch       a       black    -    bird,          Can't  catch  me. 

At  the  last  word  the  players  stoop  and  Charley  tries  to  tag  them 
before  they  reach  that  position.  If  successful,  the  player  tagged 
changes  places  with  him. 


GREEN   GRAVEL. 


%^  « 

H 

F^= 

3 

'•     J      J 

J    

V 

Green    grav-el,     green  grav  -  el,     how   green   the     grass       grows 


i 


m 


s 


All      o  -  ver  the  na-t,ion,  Miss   Lu-cy,    Miss    Lu-cy,  your    lov-er    has        said 


5 


t 


He'd       write       you    a      let-ter     so     turn    back      your     head. 

Players  form  a  circle  or,  if  the  number  is  large,  two  circles.  Begin- 
ning with  one  of  the  number  sing  the  name  of  each  child  im  the  circle. 
The  game  continues  until  all  have  turned  back  their  heads. 


16 


SOCIAL  PLAYS  AND  GAMES. 


KING  ABOUND  A  BOSY. 


A     ring  a -round   a       ros-y     sweet,     We    dear^ly     love   to       make,  Then 
Now      I      choose    a       fair-y      sweet,     To    dance    a-round  our      queen,   To 
So  dance  the  tin  -  y       fai-ries     light,      A  -  round  their  dain-ty       queen,  They 


' 


J 


1    J 


' 


gai  -  ly    skip     With      fly  -  ing    feet,    While     curls     and     rib  -  bons      shake, 
skip    a  -  round    with    glad-some  feet,     The       dear  -  est       ev  -  er         seen. 
cir -cle     left,      they      cir  -  cle    right,      Up-      on      the  moon -lit       green. 

Players  form  a  circle  about  one  child,  who  stands  in  the  center. 
They  all  join  hands  and  dance  around  while  singing.  Before  the 
second  verse  one  child  steps  from  the  circle,  and  indicates  as  she  skips 
about,  which  ones  are  to  dance  around  the  queen. 

THE   KING   OF   FBANCE. 


J 


The     King        of     France          with      for  -  ty   thou-sand 


J     ,  j. 


March-ed 


up    the       hill       and         then    marched       down 


a  -  gain. 


The  players  stand  in  two  rows  facing  each  other,  each  row  having 
a  leader,  who  is  the  king  leading  his  army.  The  players  imitate  the 
motion  given  by  the  kings,  who  take  turns  at  singing  the  verse,  at 
the  same  time  marching  forward  at  the  first  line  of  the  verse  and  back 
to  their  places  during  the  second  line,  indicating  the  motion  that  is  to 
be  taken  by  all.  The  verse  is  then  sung  by  both  groups,  advancing 
toward  each  other  and  retreating.  Other  variations  appropriate  to 
an  army  of  men  may  be  used,  such  as  : 

Rode  his  horse. 
Filled  his  canteen. 
Drew  his  sword. 
Fired  his  gun. 
Shouldered  arms,  etc. 


M 


SOCIAL   PLAYS   AND    GAMES. 
OLD   DAN   TUCKER. 


17 


^ 


J'/J 


Old    Dan  Tuck-er   came    to  town,       Sa-lut-ing    the    la-dies    all     a  -  round 


^*  1 
N>  « 

^=^ 

i  J   J    J'   ~ 

J    J  J  . 

11 

UT-  1 

First      to   the    right   and   then    to    the    left,    Then  to    the    one    that    vou 


£W| 

4~c*  1  1 
Cs 

\ 

H— 

—  ir-V- 

^      1     J 

—4  1  — 

love    best.    Look  out    the    way  For    old  Dan  Tuck-er,  He's    too    late    to    get    his 


ft*i 


sup -per.  Sup-per's   o-ver,  din-ner's  cook  -  ing,  Old  Dan  Tuck-er  stands    there   look-ing. 

Players  choose  partners  and  form  in  a  circle.  One  or  several 
players,  if  the  number  is  large,  stand  in  the  center  to  represent  "  Old 
Dan  Tucker."  All  sing: 

Old  Dan  Tucker  cauie  to  town, 
Saluting  the  ladies  all  around, 
First  to  the  right,  then  to  the  left, 
Then  to  the  one  that  you  love  best. 

At  the  words  "  Saluting  the  ladies  all  around  "  Dan  Tucker  bovrs 
promiscuously,  "  First  to  the  right,  then  to  the  left."  At  the  words 
"  Then  to  the  one  that  you  love  best "  he  chooses  a  partner  from  the 
circle.  The  one  whose  partner  is  chosen  steps  to  the  center,  and  all 
skip  around,  singing  the  chorus: 

Look  out  o'  the  way  for  Old  Dan  Tucker, 
He's  too  late  to  get  his  supper, 
Supper's  over,  dinner's  cooking, 
Old  Dan  Tucker  stands  there  looking. 

64G300— 11 3 


18 


SOCIAL  PLAYS  AND  GAMES. 
CATCH  THE  SQUIRREL. 


J' 


Up     and     down     the     cen-ter  we  go,    Up     and  down  the     cen-ter      we     go, 

Round  and     round     the        ring      we  go,  Round  and  round  the       ring         we    go, 

Now  is  the  time  to  catch  your  squir-rel,  Now     is  the  time   to  catch  your  squirrel, 

Run     a        little       fas  -  ter  if  you  please,   Run     a  little      fas  -  ter  if     you    please, 


5* 


2 


Up      and  down     the      cen  -  ter     we     go,  On  a  fros  -  ty  morn  -  ing. 

Round  and  round     the         ring        we     go,  On  a  fros  -  ty  morn  -  ing. 

Now      is  the  time  to  catch  your  squir-rel,  On  a  fros  -  ty  morn  -  ing. 

Run       a  little       fas  -  ter  or  you'll  freeze,  On  a  fros  -  ty  morn  -  ing. 

Players  stand  opposite  their  partners  in  two  lines,  leaving  a  wide 
space  between.  At  the  singing  of  the  first  two  lines  the  two  players 
at  the  head  of  the  lines  cross  hands  and  walk  up  and  down  the  center. 
At  the  singing  of  the  second  line  they  alternate  around  the  outside 
of  the  lines,  going  in  opposite  directions  around  their  respective 
lines.  During  the  last  verse  the  player  from  the  line  who  is  to  catch 
the  squirrel  chases  it  around.  He  tries  to  accomplish  this  without 
leaving  his  own  side,  around  which  he  circles,  running  fast  enough 
to- catch  the  squirrel  as  it  turns  at  either  end  of  its  line. 

MARCHING  'ROUND  THE  VALLEY. 


^ 


We're     march  -  ing     round     the      val  -  ley,   We're  march  -  ing  round  the    val-ley, 
Go        through  and  through    the    win-dows,     Go    through  and  thro'   the  win-dows. 
forth    and      face     your     lov  -  er,     Go      forth    and    face  your    lov-er, 
kneel     be  -  cause       I       love  you,      I       kneel     be  -  cause     I    love  you, 
measure  my       love       to      show  you,      I    measure  my    love     to  show  you, 


Go 
I 
I 


We're    march-ing    round  the     val-ley,  The  High-land  gates  are 

Go        thro'  and     thro'    the  win-dows,  The  High-land  gates  are 

Go        forth  and     face    your     lov  -  er,   The  High-land  gates  are 

I         kneel  be  -  cause     I       love  you,  The  High-land  gates  are 

I       measure  my    love     to    show  you,  The  High-land  gates  are 

Good-bye,  I  hate  to  leave  you,  etc. 


free. 
free, 
free, 
free, 
free. 


Players  stand  in  a  circle,  with  one  or  more  of  the  number  chosen 
to  be  in  the  center.  All  in  the  circle  march  around  as  they  sing 
the  first  verse.  During  the  second  verse  they  stop  and  arch  the 
hands  for  windows.  The  players  in  the  center  wind  in  and  out 


SOCIAL  PLAYS  AND   GAMES. 


10 


through  these,  returning  to  the  center  at  the  end  of  the  verse.  In 
the  third  verse  the  center  players  choose  partners  from  the  circle, 
standing  before  them  until  the  verse  is  finished.  In  the  fourth  verse 
the  center  players  and  the  ones  chosen  kneel,  as  indicated  in  the 
words  being  sung.  In  the  fifth  verse  they  clasp  hands,  swaying  them 
from  side  to  side  as  far  as  possible  in  time  to  the  music.  In  the 
last  verse  the  players  chosen  pass  to  the  center  and  the  others  return 
to  the  circle. 

HUNTING. 

£-TT 


J^  J-  t  i. 


m 


Oh,    have    you    seen    the    Shah?      Oh,    have    you    seen    the    Shah? 
Fora-hunt-ing     we     will     go,       Fora-hunt-ing     we     will    go. 


5 


He    lights 
We'll  catch 


his    pipe    on    a    star  -  light  night,  Oh,    have  you    seen    the    Shah? 
a       fox   and  put  him      in  a     box,      A  -  hunt  -ing     we      will     go. 


Players  stand  in  two  lines  facing  each  other.  They  clap  their 
hands  in  time,  singing  the  first  verse.  While  the  last  verse  is  being 
sung  the  two  players  at  the  top  of  the  lines  run  forward,  join  hands, 
and  run  down  to  the  end  of  the  lines,  turn,  join  the  other  hands, 
and  return  between  the  lines.  "When  they  have  reached  the  foot 
they  unclasp  hands  and  run  down  to  the  foot  again,  where  they 
remain.  Then  the  song  is  begun  over  again,  and  the  next  two 
players  at  the  top  run  forward,  etc.;  then  the  next  couples  in  turn 
until  all  have  played  ;  then  the  two  lines  of  players  join  hands  and 
circle  about  to  the  verse  for  the  last  time,  which  finishes  the  game. 

DID   YOU   EVER  SEE   A  LASSIE. 
[May  be  sung  to  the  tune  of  "  Lieber  Augustine."] 


Did  you    ev-er    see   a   las-sie,   a    las-sie,    a      las-sie,  Did  you     ev  -  er    see  a 


Las  -  sie   do    this  way   and   that?    Do     this  way,  and  that   way,   and   this    way, 


Ok  i  i  K  l> 

£5  \  —  EE3 

\    J-«J  «Ml  J  f  f—  i  —  ' 

rl  —  i  " 

l&^4  J  J  —  •'  * 

M 

and    that    way?  Did  you      ev  -  er  see  a     las-sie    do     this  way  and    that? 

All  of  the  players  form  a  circle,  clasping  hands.     They  circle 
around,  singing  the  first  two  lines  of  the  verse.    While  they  are  doing 


20 


SOCIAL  PLAYS   AND   GAMES. 


this,  an  odd  player  stands  in  the  center  and  indicates  some  motion 
Avhich  he  wishes  them  to  imitate.  During  the  last  two  lines  of  the 
verse  the  players  stop,  drop  hands,  and  imitate  the  motion  chosen  in 
time  to  the  singing.  A  good  game  for  little  children. 

DRAW  A  BUCKET   OF  WATEB. 


-•h- 


Draw  a   buck-et     of     wa  -  ter    For  my    la-dy's    daugh-ter,    One    in    a     rush, 


5 


Two     in      a     rush.    Please,     lit  -  tie        girl,       Bob     un-der  the 


bush. 


Play  in  groups  of  four.  Two  players  face  each  other,  holding 
clasped  hands  at  arms'  length.  The  other  two  face  each  other  in  the 
same  way,  with  their  arms  crossing  those  of  the  first  couple  at  right 
angles.  Bracing  the  feet,  the  couples  sway  backward  and  forward, 
singing  the  rhyme.  As  the  last  line  is  said,  the  players  all  raise 
their  arms  without  unclasping  the.  hands,  place  them  around  their 
companions,  who  stoop  to  step  inside.  They  will  then  be  standing 
in  a  circle,  with  their  arms  around  each  others'  waists.  The  game 
finishes  by  dancing  around  in  a  circle,  singing  the  verse.  Suitable  for 
young  girls. 

THIS  IS  THE  LADY. 


m 


^ 


This      is     the  la  -  dy    go  -  ing  to-  town,     This    is     the      la-dy    go-ing  to     town. 


Tra,    la,    la,     la,     la,  Tra,   la,  la,     la,    Tra,  la,    la,    la, 


Tra,   la,  la,      la, 


Players  form  a  line  or  circle.  One  child  chosen  to  be  the  leader 
steps  forward  or  to  the  center  of  the  circle  and  indicates  the  move- 
ment to  be  imitated  at  the  singing  of  the  chorus.  The  game  is  in- 
ventive and  the  leading  child  may  substitute:  going  to  church,  sweep- 
ing the  house,  washing  her  clothes,  combing  her  hair,  making  some 
bread,  or  other  suitable  phrase,  instead  of  the  words  "  going  to  town." 


SOCIAL  PLAYS  AND  GAMES. 
GOING  OVER  THE  MOUNTAIN. 


21 


j.-n  j 


Ru,  ri,  ru,  ri,  go-ing  o'er  the  moun-tain,  Ru,  ri,  ru,  ri,  go-ing  o'er 
Pret  -  ty  lit  -  tie  birds  go  thru  the  win-dows,  Pret-ty  lit  -  tie  birds  go  thru 
Fret  -  ty  lit  -  tie  birds  go  choose  your  part-ners,  Pret  -  ty  lit  -  tie  birds  go  choose 


J 


3 


* 


» 


the  moun-tain,  Ru,  ri,  ru,  ri,  go  o-ver  the  moun  -  tains  do. 
the  win-dows,  Pret-ty  lit-tle  birds  go  thru  the  win  -  dows,  do. 
your  part-ners,  Pret-ty  lit-tle  birds  go  choose  your  part-ners,  do. 

The  players  form  a  circle,  with  several  players  in  the  center  to 
represent  the  birds.  At  the  singing  of  the  first  two  lines  they  clasp 
hands  and  skip  around  the  circle.  At  the  second  verse  all  stop,  raise 
clasped  hands,  forming  windows,  through  which  the  birds  pass  in  and 
out  promiscously.  At  the  singing  of  the  last  verse  the  players  in 
the  center  choose  partners,  standing  in  front  of  them  until  the  end 
of  the  verse,  when  the  ones  chosen  enter  the  circle,  the  others  clasp 
hands  and  repeat  the  game.  One  of  the  best  games  for  young  chil- 
dren. 

LEAVES  ARE  GREEN. 


£ 


P* 


Leaves    are    green,  the   nuts    are  brown,  They  hang    so  high   they  will    not  come  down. 


E£S£ 


Leave  them  a  -  lone  till     f  roe  -  ty  wea-ther,  Then  they    will    all    come  down  to-geth  -  er. 

The  players  join  hands  and  form  a  ring.  They  dance  around  in 
a  circle  in  time  to  the  music.  As  the  last  words  are  sung  they  all 
stoop  to  the  floor  to  represent  the  falling  nuts.  To  add  to  the  interest 
of  the  game  a  child  or  the  teacher  may  notice  which  one  stoops  last 
and  make  some  penalty  or  forfeit  to  fit.  A  simple  but  interesting 
game  for  very  young  players. 


22 


SOCIAL  PLAYS  AND  GAMES. 


LONDON   BRIDGE. 


n 


'A  aH  r 

j 

i  i  — 

r~ 

— 



—  1  

ty    M,—  i 

Lon-do 

n    Bridge     is 

fall  -  ing  down, 

fall  -  ing  down 

—  1 
f 

^  • 
ill  -  in 

^  :  
g       down, 

Build  it 

up 

with 

i  -  ron 

bars, 

i 

-  ron   bars, 

i 

-   ron 

bars, 

I 

ron       bars 

will  bend  and  break, 

bend  and  break 

bend  and       break, 

Build  it 

up 

with  silver  and 

gold, 

silver  and  gold, 

silver  and 

gold, 

Gold  and    silver  will  be  stolen  a  - 

way,  stolen    a  -  way, 

stolen    a 

way, 

Get     a 

man 

to   watch  all 

night, 

watch  all  night,  watch  all         night, 

Suppose  the  man 

should 

fall     a  • 

sleep, 

fall     a  -  sleep 

fall     a 

-     sleep. 

Ik 

V  a 

1  1  1 

wr  — 

1  

~f- 

1  ' 

1  \— 

i  

/       | 

W>             4 

• 

0 

J 

I       ,  , 

1 

) 

* 

=¥=   « 

^-—  ^ 

~CT 

H* 

4: 

& 

Lon  - 

don    Bridge 

is 

fall  -  ing  down, 

my     fair 

la 

-dv, 

O! 

Build 

it 

up     with      i  -  ron   bars, 

my     fair 

la 

-dy, 

O! 

I 

ron 

bars     will  bend    and  break, 

my     fair 

la 

-dy, 

O! 

Build 

it 

up      with  silver    and   gold, 

my  '    fair 

la 

-dy, 

O! 

Gold    and    silver  will  be  stolen 

a  -  way, 

my      fair 

la 

-dy, 

O! 

Get 

a       man 

to 

watch    all   night, 

my     fair 

la 

-dy, 

O! 

Suppose  the    man    should  fall      a  -  sleep, 

my      fair 

la 

-dy, 

0! 

Get  a  dog  to  bark  all  night,  etc. 


Two  of  the  tallest  plaj^ers  are  chosen  to  represent  the  bridge.  The 
other  players  form  a  circle.  One  of  these*  is  chosen  to  be  the  keeper 
of  the  bridge.  As  each  verse  and  chorus  is  sung  the  keeper  sends 
one  of  the  number  from  the  circle  out  to  the  bridge.  There  he  is 
asked  if  he  desires  a  "  gold  piano,"  or  a  "  diamond  ring."  If  he 
chooses  the  ring,  he  stands  behind  the  one  who  represents  that  article, 
etc.  The  game  continues  thus  until  all  have  chosen ;  then  they  clasp 
each  other  around  the  waist,  and  a  tug  of  war  takes  place,  the  side 
winning  which  pulls  the  opposing  side  across  a  given  line.  Where 
a  large  number  of  players  take  part,  it  is  best  to  play  the  game  as 
hereby  directed.  Another  way  which  would  shorten  the  length  of 
time  would  be  to  have  several  spans  or  bridges,  and  several  circles 
instead  of  one. 

THE  MUFFIN  MAN. 


i 


£ 


i 


Oh,      have    you    seen  the    muf-fin  man,  The  muf-fin     man,      the    unit' -fin    man. 


Oh,     have     you    seen    the     muf-fin    man    that       lives       iu     Dru-ry    Lane,    O? 


SOCIAL  PLAYS  AND   GAMES. 


23 


Oh,     yes,      I've      seen    the     muf  -  fin  man,  the  muf-fin  man,   the   muf  -  fin    man 


JU  J'  J 


J 


Oh,       yes,       I've      seen    the     muf-fin    man    That     lives       in     Dru-ry  Lane,  O! 

The  players  stand  in  a  circle  with  one  or  more  in  the  center.  They 
dance  around  slide  step  and  sing  the  first  two  lines  of  the  verse.  They 
then  stand  still  while  the  players  in  the  center  choose  each  a  partner, 
who  enters  the  circle  with  them.  They  then  cross  and  clasp  hands 
and  dance  around  to  the  singing  of  the  last  two  lines.  The  slide  waltz 
step  in  time  to  the  music  is  appropriate. 

NUTS   IN  MAY. 


Here  we  come  gath:er- ing    nuts    in    May,   nuts    in    May,    nuts     in    May, 

Whom  will   you       have    for    nuts    in    May,    nuts    in    May,    nuts     in    May, 

We    will    have  (Ma-ry)  for     nuts    in    May,    nuts    in    May,    nuts     in    May, 

Whom  will  you  send  to    fetch  her     a  -  way,  fetch  her  a-way,    fetch  her  a-way, 

We    will    send  (Alice)    to   fetch  her  a-way,  fetch  her  a-way,  fetch  her  a-way. 


J*J-l|J 


Here  we  come  gath-er-ing  nuts  in  May,  on  a  cold  and  fros  -  ty  morn-ing. 

Whom  will  you  have  for  nuts  in  May,  on  a  cold  and  fros  -  ty  morn-ing. 

We  will  have  (Ma-ry)  for  nuts  in  May,  on  a  cold  and  fros  -  ty  morn-ing. 

Whom  will  you  send  to  fetch  her  a-way,  on  a  cold  and  fros  -  ty  morn-ing. 

We     will  send  (Al-ice)  to  fetch  her  a-way,  on  a  cold  and  fros -ty  morn-ing. 

The  players  stand  in  two  lines,  facing  each  other  and  holding 
hands,  with  a  wide  space  between  which  will  admit  of  advancing 
toward  each  other  and  retreating.  The  first  line  sings  the  first 
verse,  advancing  toward  its  opponents  and  retreating.  The  second 
line  sings  the  second  verse  advancing  and  retreating. 

The  first  line  sings  the  third  verse,  naming  some  one  in  the  opposite 
line.  The  second  line,  unwilling  to  give  up  a  player,  advances  and 
retreats  singing  the  fourth  verse,  in  which  it  names  some  one  in  the 
first  line  to  be  a  match  for  the  player  given. 

The  two  lines  then  stand  still  while  the  two  players  advance  to 
the  center,  where  a  line  is  drawn,  take  hold  of  hands  and  have  a  tug 
of  war.  The  player  who  is  pulled  across  the  line  becomes  the  cap- 
tured and  joins  the  side  of  the  captors.  The  game  is  then  repeated 
with  the  second  line  singing  the  first  verse,  etc.,  until  all  have  taken 
part  in  the  tug  of  war,  the  side  winning  which  captures  the  most 


24 


SOCIAL  PLAYS  AND   GAMES. 


nuts.  For  large  numbers  of  players,  instead  of  the  single  tug  of 
war  both  lines  may  advance  and  all  of  the  players  take  part  in  the 
tug  of  war.  Another  way  is  to  have  all  of  the  players  line  up  with 
their  respective  sides,  as  in  London  Bridge,  for  a  tug  of  war. 

BOUND   AND   BOUND  THE   VILLAGE. 


r^=fi 

i 

j-j 

— 

f  1 

F*> 

1  J  f     I 

33 

—  »  1  1  

^F^= 

ty  q  d 

Go 

round  and 

-« 
ro 

und  the 

^      ^^- 

vil  -  lage,  Go 

round  an 

=  ^*    •>    =^=! 

1  round    the       vil    - 

lage, 

Go 

round  and 

round  the 

vil  -  lage.  Go  round  and  round    the       vil    - 

lage, 

Go 

in 

and 

out     the 

win  -  dows,  Go 

in      and    out       the      win  - 

dows, 

Now 

stand   and 

face   your 

part  -  ner,  Now  stand  and  face     your     part 

ner, 

Now 

$*  —  n 

fol 
-T  — 

-  low 

me      to 

Lon  -  don,  Now  fol  -  low   me        to       Lon    - 

don. 

"1  

ft?  —  *~^ 

Go 

roun 

1  and 

round  the 

vi 

1  -  laf 

re, 

As 

^/ 
we  have 

done               be 

fore. 

Go 

round  and 

round  the 

vil  -  lage, 

As  we  have 

done               be 

fore. 

Go 

in 

and 

out     the  win-  dows, 

As  we  have 

done                be 

fore. 

Now 

stand    and 

face    your  part  -  ner, 

As  we  have 

done                be 

fore. 

Now 

fol 

-  low 

me       to 

Lon  -  don, 

As  we  have 

done                be 

fore. 

The  players  form  a  circle,  clasping  hands  with  one  player  outside. 
The  players  stand  still,  representing  the  houses  of  a  village.  The 
outside  player  dances  outside  the  circle,  singing  the  first  verse.  In 
the  second  verse  the  players  elevate  the  clasped  hands  to  represent  the 
windows.  The  outside  player  winds  in  and  out  until  the  circle  has 
been  completed.  He  tries  to  get  around  by  the  time  the  verse  is  fin- 
ished, and  as  the  third  verse  is  sung  he  enters  the  circle  to  choose  a 
partner.  These  two  then  run  around  the  outside  of  the  circle  while 
the  verse  "  Follow  me  to  London  "  is  being  sung,  etc.  At  the  end  of 
the  verse  they  return  to  the  center  of  the  circle,  where  they  bow  and 
part,  the  first  player  returning  to  the  circle  and  the  second  player 
running  around  the  outside  of  the  village. 

Where  larger  numbers  are  playing,  several  players  may  be  chosen 
to  go  around  the  outside  of  the  village. 

KING  WILLIAM. 


King    Will  -  iam   was    King    James'    son,   In     all      the     roy-al    race    he    run. 

Go   choose  your  east,    go  choose  your  west,  Go  choose  the    one  that  you  love  best. 

Down      on     this    car  -  pet   you   may  kneel,  As    sure    as  grass  grows  in     the  field. 


=« 


m 


Up  -  on  his       breast    he     wore     a    star,    Just       the    shape    ol    a    pic-klejar. 

If      she's          not        here   then    take  yourpart,  And  choose  another  with  all  your  neart. 
Sa  -   lute         your       love    and    smile  so  sweet,    A    -    rise     again     up •  on  your  leet. 


SOCIAL  PLAYS  AND   GAMES. 


25 


Players  form  a  circle,  with  one  or  several  players  in  the  center. 
The  players  circle  around  while  singing  the  first  verse.  At  the  second 
verse  they  stand  still,  while  the  player.-  in  the  center  choose  their 
partners  and  take  them  into  the  center.  In  the  last  verse  they  per- 
form as  indicated  by  the  words,  bow.  part,  the  first  players  return 
to  the  circle,  the  game  continuing  with  the  ones  chosen. 

THE   MILLER. 


*^mj  J'iu 


Hap-py  is    the  mil-ler  who   lives     by  the  mill,    The    mill      turns    round   with  a 


\W  J     J    j 

r'i> 

=^] 

>    >JV     1 

r-y-i 

Ti 

\  N  k  1—  1 

J 

—  »  « 

I-  —  ^—  *  1 

J     j 

'  —  • 

J  j  4-- 

free      good      will,    O,    one    hand    in    the  hop  -  per  and   the    oth  -  er  in  the    sack 


J- 


The 


la  -dies     step       for  -ward       and       the      gents        step        back. 


Players  choose  partners,  with  one  or  several  players  in  the  center. 
They  link  arms,  marching  around  the  circle  by  twos.  At  the  singing 
of  the  last  line  the  "  Millers  "  in  the  center  try  to  secure  partners 
while  the  couples  are  changing.  If  successful,  the  ones  whose  part- 
ners have  been  taken  enter  the  circle  and  the  game  continues. 

THE   NEEDLE'S   EYE. 


si 


The    nee-die's      eye    that    does    sup -ply  the   thread     that   runs     so       true, 
The    nee-die's      eye    that    does    sup -ply  the   thread     that   runs     so       true, 


//     fv     [<  f  i  

-T—  r-    J      J      1= 

ty  "J  J  —  J  —  j  —  J  —  1  ^   J  J-  '   "   *  ~>  —  £_J    l 

Man  -  y             a         lass     have    I     let      pass    be  -cause     I     want-ed             you. 
Man  -  y             a        beau    have    I     let       go      be  -  cause  they  could  not          sew. 

\S  -    IM  J    '     ^  J     hi  J     J    M  J     J   J     IM    J  if  1 

Be  -cause           I    want-ed 
Be  -  cause        they  could  not 

0     U       „            K                                    I 

A  V."     h      P  1  1  ^ 

you,       Be 
sew,       Be 

-  cause    I    want  -  ed 
•  cause  they  could  not 

1      MJ     J      f 

you. 
sew. 

ly  "j  —  J  J  —  *  —  g= 

Man  -  y            a       lass     have 
Man  -  y             a      beau    have 
n/(«OA°      -11           i 

I      let     pass    be  -cause    I     want-ed            you. 
I      let       go      be  -  cause  they  could  not           sew. 

26 


SOCIAL  PLAYS  AND  GAMES. 


The  players  choose  partners  and  form  a  circle.  Several  couples  are 
chosen,  if  the  numbers  permit,  to  represent  the  needle's  eye.  Of  these, 
one  person  stands  within  the  circle  and  the  other  without.  They 
clasp  hands  and  form  an  arch,  through  Avhich  the  circle  must  pass. 
At  the  singing  of  the  first  verse  the  boys  stand  without  the  circle  and 
choose  another  partner  from  the  passing  line.  The  one  chosen  stands 
within  the  span,  or  "  Needle's  eye,"  until  the  verse  is  finished,  the  girl 
who  was  within  the  circle  returns  to  the  line,  and  the  one  chosen 
stands  on  the  outside  of  the  circle,  clasping  hands  with  the  boy  who 
is  now  on  the  inside  of  the  circle.  At  the  singing  of  the  second  verse 
the  girl  chooses  a  partner,  the  positions  are  reversed,  and  the  first  boy 
returns  to  the  circle. 

PEEPING  AT   SUSIE. 


Peep  -  ing  at  Su-sie,  Su-sie,  Su-sie,  Peep -ing  at  su-sie,  Su  -  sie,  girl. 
Close  up  sim  -  i  -  lar,  Su-sie,  Su-sie,  Close  up  sim  -  i  -  lar,  Su  -  sie,  girl. 
Run  around  and  catch  her,  Su-sie,  Su  -  sie,  Run  around  and  catch  her,  Su  -  sie,  girl. 


Peep -ing  at  Su-sie,  Su-sie,  Su-ste,  Peep -ing  at  Su-sie,  Su-sie,  girl. 
Close  up  sim  -  i  -  lar,  Su-sie,  Su-sie,  Close  up  sim  -  i  -  lar,  Su-sie,  girl. 
Run  around  and  catch  her,  Su-sie,  Su  -  sie,  Run  around  and  catch  her,  Su-sie,  girl. 

Players  stand  in  a  circle  with  clasped  hands.  Two  of  the  num- 
ber are  chosen,  one  to  be  "  Susie  "  and  another  to  catch  her.  At  the 
singing  of  the  first  verse  these  players  stand  outside  of  the  circle  at 
opposite  sides  peeping  at  one  another  as  the  verse  indicates.  When 
the  second  verse  is  sung  all  of  the  players  in  the  circle  advance 
toward  the  center,  standing  close  together.  During  the  third  verse 
the  one  chosen  to  be  catcher  tries  to  catch  Susie,  who  runs  around  the 
outside  of  the  group  of  players  in  the  center.  If  she  is  not  caught  at 
the  end  of  the  verse,  repeat.  When  she  is  caught  the  two  return  to 
the  circle  after  choosing  two  of  the  others  to  take  their  places. 


r&#  T  

A  —  ^  —  

(- 

SHOOT   THE   BUFFALO. 
re  —  i  (H  »—  -fV—  1  *  1        K  1  

Come 
The 

S  —  J  'J    J 

here,       my  dear  -  est 
hawk  caught  the   buz 

Nil       I     \ 

-,-.  —  iBE 

dear,     and  pre  - 
-  zard,     and  the 

-V  1   H   i 

^    J     J    .' 

sent    to      me  your 
buz-  zard  stubbed  his 

hand, 
toe, 

And 
And  \ 

~i  — 

rn 
«s'ii 

==a=H     -j.j.'1-J   J    Jj^= 

leave    you    in    pos  -  ses  -  sion  of    a       far     and     hap-py  land, 
ral   -   ly  thru  the  cane-brake  and  we'll  shoot  the    buf-fa-lo. 

SOCIAL  PLAYS  AND   GAMES. 


27 


m 


Of    a      far     and   hap  -  py     land,        of      a      far       and    hap  -  py    land, 
Brake  and  shoot  the    buf  -  fa   -   lo,       brake  and  shoot     the     buf  -  fa  -  lo. 


And 
And 


I'll     leave 
we'll      ral    - 


you    in    pos  -  ses  -  sion     of    a     far  and   hap  -  py 
ly  •  thru  the  cane-brake  and  we' 11  shoot  the  buf -fa 


land, 
lo. 


Players  choose  partners  and  stand  as  in  the  quadrille  in  couples. 
Four  couples  in  each  group.  At  the  words  "  Come  here  my  dearest 
dear  "  they  turn  to  the  partner  of  the  couple  next  to  them  on  either 
side  right  and  left  hand  round  until  all  have  returned  to  their  places. 
At  the  singing  of  the  second  verse  turn  partners  right  and  left, 
promenading  to  places  at  last  line. 

THE   FARMER  IN   THE   DELL. 


i 


j 


The       farm-er       in      the       dell,      The       farm-er      in      the        dell, 


The       farm-er    takes 

a        wife,       The 

farm-er    takes      a 

wife, 

The         wife       takes 

a        child,      The 

wife      takes     a 

child, 

The         child      takes 

a        nurse,      The 

child     takes      a 

nurse, 

The        nurse      takes 

a         dog,       The 

nurse     takes      a 

dog, 

The         dog        takes 

a        bone,      The 

dog       takes     a 

bone, 
1 

h    -1  •'  J| 

Heigh-O!         The 

j    J«l    JJ 

cher-ry,     O.       The 

farm-er     in       the 

dell. 

Heigh-O!        The 

cher-ry,      O,       The 

farm-er    takes     a 

wife. 

Heigh-O!        The 

cher-ry,     O,       The 

wife      takes      a 

child. 

Heigh-O!        The 

cher-ry,      O,       The 

child      takes       a 

nurse. 

Heigh-O!        The 

cher-ry,      O,       The 

nurse     takes      a 

dog. 

Heigh-O!        The 

cher-ry,      O,       The 

dog       takes      a 

bone. 

The  players  stand  in  a  circle  with  one  of  their  number,  who  is  the 
"  Farmer  in  the  dell."  At  the  singing  of  the  verses  the  players 
march  with  hands  clasped  around  the  circle.  In  the  first  verse  the 
farmer  takes  one  of  the  circle  players  by  the  hand  and  leads  her 
around  the  inside  of  the  circle.  In  the  second  verse  the  wife  takes  a 
child  from  the  circle,  the  three  march  around  the  inside  of  the  circle 
until  all  of  the  others  of  the  song  are  chosen.  At  the  singing  of  the 
last  verse: 

The  bone  stands  alone.  The  bone  stands  alone, 
Heigh-O  !  the  cherry  O  !  The  bone  stands  alone, 

the  players,  including  all  except  the  bone,  drop  hands,  advance  to 
the  center,  clap  their  hands  above  his  head  in  time  to  the  singing  of 
the  verse,  and  at  its  close  retreat  to  the  circle,  leaving  him  alone  to  be 
the  farmer  as  the  game  continues. 


28 


SOCIAL  PLAYS   AND   GAMES. 
I'D   LIKE   TO   HAVE  A  PARTNER. 


Sfei  1  —  h 

-J-J- 

..  1...J 

1  1  1  1  

.  —  .. 

7      I   i    -i 

•  • 

_-J 

-J  J      J       J  

4J  —  i 

I'd      like        to      have    a 

part-ner, 

To 

march   a-long     with 

me 

And    now        I        bo 

w    be  -fore  you 
[  —  i  r- 

And 

take    you  by      the     r 

and, 

Ify    J.  1  -J."l  J.   J 

=3= 

ibrrf^ 

^ 

_«L_J  —  J  1  «! 

3  —  ^  

To       lis-ten       to       the      mu-sic   And     keep       in    step     with          me. 
And     say  be  -  fore       I      leave  you  The     best        in     all        the         land; 


3 


We'll     sing      a       mer-ry       song,       A      mcr-ry  cheer-ful       song, 
That     you  have  strewn  my  path-way,  With  ros-es  for     a          day, 


4  4JlJJJ^ 


This        hour     we'll      sing     to-geth-er     A     mer-ry     cheer-ful          song. 
And        help        to       drive      com  -  plete  -ly   All    dull  care     a     -     way. 

Choose  partners  and  march  around  in  a  circle  during  the  singing 
of  the  first  verse.  In  the  second  verse  partners  turn  about  three  steps 
to  the  right  and  three  steps  to  the  left,  bow,  part,  and  change  part- 
ners, boys  going  backward  and  girls  forward,  as  in  "Happy  is  the 
Miller." 

THE   PARTY. 


Oh,       won't  you       take     me      to  your      par-ty,  Thereto      ban-ish      ev'ry     care. 
And      now     the        par  -  ty     gay    is         o-ver,  The    hall    clock  isstrik-ing  twelve, 


p 


Let  me    see  the      children        play-ing,       Old     Dan      Tuck-er;     la-dy  fair, 

Say  fare-well  to       Cin  -  der    -    el  -  la,  .        Leave  Dan      Tuck-er  to  him    -    self, 


In  -  tro  -  duce  me    to  the     mil-lcr,        Turn-ing  his  mill   on  the  Dee. 

Leave  Jack  Hor-uer    in  the    cor-ner,       King  Cole  with  his  lid-dlers        three. 


Let  me     pass     in    -    to     the      val-ley,  When  the  High-land  gates  are     free. 
And  pass     on     out        of    the     val-ley,  While  the  High-land  gates  are     free. 


SOCIAL  PLAYS  AND  GAMES. 


29 


^  *t4  J  if 


m 


i 


Yes, 


Come  with  me  to  our  par 


ty,       Rose  and    Nel  -  lie  will  be    there; 


5 


Jack  and         Jill    and  the  Pump-kin  eat-er,    Sim  -  pie        Si  -  mon  with  his     ware. 

Players  form  concentric  circles,  an  equal  number  in  each  circle. 
During  the  singing  of  the  first  verse  the  outer  ring  circle  left  and  the 
inner  ring  circle  right  in  time  to  the  music.  At  the  chorus,  players 
in  the  inner  circle  choose  partners  from  the  outer  circle,  cross  and 
clasp  hands,  and  circle  about  by  twos  in  time  to  the  music.  While 
singing  the  second  verse  half  of  the  players  face  left  and  the  other 
half  right,  clasping  hands  alternately  around  the  circle  until  the  verse 
is  finished.  Then  the  members  of  the  inner  circle  exchange  places 
with  those  of  the  outer  and  the  game  is  repeated. 

(1)  Form  concentric  circles.     Circle  right  and  left. 

(2)  Choose  opposite  player  and  circle  about. 

(3)  Alternate  right  and  left,  change  circles. 

MARCHES   WITH    RHYTHMIC    STEPS. 

GRAND   MARCH. 


X,  the  center  of  room.  •• 

(1)  The  head  of  room :  2,  the  foot  of  room ;  A,  B,  C,  and  D,  corners. 
Beginning  at  1,  march;  couples  go  from  A  to  B,  B  to  0,  C  to  D, 

D  to  A,  two  or  three  times. 

(2)  Turn  at  1,  march  down  the  center,  separate  at  2;  ladies  to 
right  and  gentlemen  to  left. 

(3)  As  one  line  passes  the  other,  gentlemen  next  to  the  wall;  at  2, 
pass  again;  at  1,  join  hands  and  march  down  the  center,  followed  by 
the  other  couples. 


30 


SOCIAL  PLAYS  AND   GAMES. 


At  2,  head  couple  to  the  right,  next  couple  to  the  left,  etc. 

Down  the  center  at  1  by  fours,  alternating  to  right  and  left  by 
twos.  At  1,  march  again  by  fours,  alternating  at  2  by  twos.  Meet 
at  1  and  fall  in  by  twos.  Repeat  plain  march. 


HOUR  GLASS  FIGURE. 
[Suitable  for  large  number.] 


.  B 


March  from  B  to  X,  to  C  to  D,  to  X  to  A  to  B.  Keep  lines 
straight,  angles  true  and  sharp. 

THE  ARBOR  MARCH. 

March  down  the  center.  Separate  at  2,  ladies  to  right  and  gen- 
tlemen to  the  left.  At  1  the  leader  and  his  partner  stop,  join  hands, 
and  form  an  arch.  Next  couple  pass  under,  stand,  raise  their  arms 
also ;  this  action  is  repeated  by  all  of  the  others  until  all  are  in  line. 
The  first  couple  then  lower  arms  and  pass  under  the  arms  of  all  of 
the  rest,  followed  by  the  other  couples  in  turn  until  the  arch  is  dis- 
solved and  the  plain  march  is  resumed. 

SERPENTINE  FIGURE. 

March  down  the  center  at  1,  each  gentleman  stepping  in  front 
of  his  partner  until  all  have  formed  in  single  file.  The  leader  then 
marches  around  in  a  large  circle  as  the  line  forms  and  continues 
describing  a  series  of  concentric  circles  until  the  center  is  reached. 
He  then  turns  sharply  and  retraces  his  way  until  all  have  formed 
in  straight  lines,  again  joining  partners. 


SOCIAL   PLAYS   AND    GAMES. 


31 


The  march  by  columns  is  very  effective  when  files  are  straight  and 
angles  sharply  cut.    March  by  columns. 


SICILIAN  CIRCLE. 

Music,  quickstep  or  two-step;  couples  face  by  fours  in  a  circle. 
Partners  clasp  hands.  Forward  and  back,  slide  step.  Forward  and 
back,  slide  step,  clasp  hands  with  opposite  partners,  turn.  Forward 
and  cross  over.  Back  to  places.  Ladies  chain.  Forward  and  pass 
through  to  next  couple.  Repeat  and  continue  until  all  couples  have 
reached  original  positions. 

VARSTTVIANA. 

Partners  clasp  hands,  elevate  the  left  hand,  clasping  the  left  hand 
of  partner,  right  hand  extended  to  clasp  partner's  right,  balance  step 
right.  Stand  with  feet  in  the  fifth  dancing  position  with  the  right  foot 
in  front,  heel  touching  the  toe  of  the  left.  Slide  step  backward  and 
forward  with  the  right  foot,  bring  left  foot  to  fifth  position.  Repeat 
three  times.  Then  step  to  the  right  four  steps,  on  the  fourth  change 
to  fifth  position  with  the  left  foot  forward.  Repeat  with  left  foot 
forward  each  time,  thus  returning  to  fifth  position  with  the  right  foot 
in  front  and  forward.  Slide  step  backward,  then  step  four  steps  to  the 
right  oblique.  On  the  fourth  step  place  the  left  foot  in  front.  Repeat 
the  movements  to  the  left  four  times.  Continue  as  before. 

MARCH   WITH  RHYTHMIC   STEPS. 

I.  March  around  the  room  once  or  twice.  II.  March  with  cross 
step.  III.  Cross  hands  with  partners.  Skating  step  to  waltz  time. 
Repeat.  Cross  hands  with  partners.  IV.  Slide  step.  Two  hops, 
waltz  time.  Repeat. 


32  SOCIAL  PLAYS  AND  GAMES. 

CALISTHENIC   MARCHES. 

Marches  may  be  given  with  gymnastic  or  rhythmic  exercises  pro- 
vided that  pupils  have  had  previous  training  in  gymnastics.  Hands 
on  hips.  Arms  in  oblique  position  downward.  Hands  over  shoulders. 
Arms  in  slant  positions  upward.  Arms  folded  backward.  Hands 
over  head.  Arms  in  oblique  position  upward.  Arms  in  position  for- 
ward. Arms  in  position  outward.  Arms  down. 

LEG  MOVEMENTS   IN  MARCHING. 

Touch  feet  front  and  back.  Touch  feet,  side  right  and  left.  Heel 
and  toe  march.  Deep  knee  bending.  Forward  2  steps;  backward  2 
steps.  Forward  4  steps ;  backward  4  steps.  Forward  6  steps ;  back- 
ward 6  steps.  Forward  4  steps ;  side  right  4  steps.  Forward  4  steps ; 
side  left  4  steps.  Forward  6  steps ;  side  left  6  steps.  Forward  6  steps; 
side  right  6  steps;  backward  G  steps.  Forward  8  steps;  side  right  8 
steps.  Forward  8  steps ;  side  left  8  steps.  Skating  step  to  waltz  time. 
Skating  step  with  arms  extended  upward.  Skating  step  with  arms 
extended  forward.  Skating  step  with  arms  extended  shoulders.  Knee 

bending.  • 

RHYTHMIC  EXERCISES. 

1.  TOUCH  STEP. 

I.  Raise  the  left  foot  forward  and  touch  the  floor  with  the  toes. 
II.  Place  the  left  foot  on  the  floor.  III.  Place  the  right  foot  beside 
the  left.  Continue  with  the  right  foot. 

2.  CHANGE  STEP. 

I.  Step  forward  with  the  left  foot.  II.  Bring  the  right  toe  up  to 
the  left  heel.  III.  Step  forward  with  the  left  foot,  then  continue 
with  the  right  foot. 

3.  BALANCE  TOUCH  STEP. 

I.  Bend  the  left  knee  in  front  to  a  right  angle.  II.  Touch  the 
floor  with  the  toes  of  the  left  foot.  III.  Step  on  the  left  foot.  IV. 
Place  the  right  foot  beside  the  left  and  continue  with  the  right  foot. 

4.  POINT  STEP  OUTWARD. 

I— III.  Take  three  steps  forward,  starting  with  the  left  foot.  IV. 
Place  the  right  foot  beside  the  left.  V.  Raise  the  arms  to  shoulder 
height  and  point  the  left  foot  outward,  touching  the  floor  with  the 
toes.  VI.  Back  to  position.  Repeat  with  the  right. 


SOCIAL   PLAYS  AND   GAMES.  33 

5.  BALANCE  TOUCH  STEP. 
See  No.  3. 

6.  DOUBLE  CHANGE  STEP. 

Same  as -No.  2,  but  repeat  twice  to  each  side. 
7.  DOUBLE  TOUCH  STEP. 
Same  as  No.  1,  touching  the  floor  twice  with  each  foot. 

8.  POINT  STEP  OUTWARD. 
See  No.  4. 

9.  CROSS  BALANCE  STEP. 

I.  Place  the  left  foot  in  the  outward  position.  II.  Cross  the 
right  foot  in  front  of  the  left  and  rise  upon  the  toes.  III.  Sink  on 
the  heels  and  repeat  to  the  right. 

10.  SIX-COUNT  TOUCH  STEP. 

With  the  left  foot,  touching  the  floor  with  toes  in  the  forward 
position,  then  back  to  position.  Touch  to  the  side  and  come  to  posi- 
tion. Touch  backward  and  come  to  position.  Repeat  with  the 
right  foot.  Later  this  step  may  be  taken  with  a  hop. 

11.  CROSS  BALANCE  STEP  (WITH  TRUNK  MOVEMENT). 

Same  as  No.  9,  but  adding  a  slight  bending  of  the  trunk  to  the  right 
side  when  stepping  to  the  left  and  reverse. 

12.  KLAPDANS. 

Arrange  couples  in  a  circle  or  a  straight  line.  Partners  face  each 
other.  I.  Clap!  Clap!  Bow!  (Bow  to  the  right  first.)  II.  Clap! 
Clap!  Bow!  (To  the  left.)  III.  Stamp  right  foot.  Stamp  left 
foot.  IV.  Take  three  hops  around  to  place. 

13.  CROSS  BALANCE  STEP   (WITH  TRUNK  AND  ARM  MOVEMENT). 

Same  as  No.  11,  but  adding  the  arm  movement.  As  the  trunk  is 
'bent  to  the  right,  carry  the  arms  toward  the  right  side,  left  arm  bent 
across  the  chest.  Move  the  arms  to  the  left  side  wrhen  bending  to 
the  left. 

14.  DOUBLE  TOUCH  STEP. 
See  No.  7. 

64630°— 11 5 


34  SOCIAL  PLAYS  AND  GAMES. 

15:  BABY  POLKA  (MUSIC  KINDER  POLKA). 

I.  Clap  hand  down  against  the  side  of  the  body.     Clap  together. 

(a)  Slap!  (&)  Slap!  (c)  Slap!  (partners' hands).    II.  Repeat.    III. 
Resting  elbow  on  left  hand,  shake  the  right  finger  three  times  at 
partner.     IV.  Shake  the  left  finger  at  partner  three  times.    V.   («), 

(b]  Hopping  around  (hopping  twice)  ;  (c),  (d),  and  (e)  both  feet 
(three  hops  quick  time).     VI.  Repeat  from  the  beginning.     VII. 
Slide  polka  around  the  room  four  times. 

16.  POLKA  STEP. 

Touch  heel  in  front  and  toe  in  back,  then  1,  2,  3  step.  Repeat 
with  the  right  foot. 

17.  ROCKING  STEP. 

I.  Step  fonvard  with  the  left  foot,  slightly  raise  the  backward 
foot,  and  incline  the  body  forward.  II.  Place  the  right  foot  down, 
raise  the- left  foot,  and  incline  the  body  backward.  III.  Place  the 
left  foot  down  and  then  start  with  the  right  foot. 

18.  BEAN  PORRIDGE  HOT. 

I.  Players  may  stand  in  a  straight  line,  partners  facing  each  other. 
Play  bean  porridge  twice.  II.  Partners  join  right  hands,  taking 
two  schottische  steps.  (Three  running  steps  and  hop:  1  and  2,  hop.) 
III.  Each  claps  hands  three  times.  Rest  right  elbow  on  left  hand 
and  shake  right  finger  at  partner.  IV.  Partners  join  left  hands. 
taking  two  schottische  steps  back  to  place.  V.  Clap  hands  three 
times  together  and  shake  left  finger  at  partner.  VI.  Glide-polka  step 
four  times.  (Slide,  slide,  and  1,  2,  3.) 

19.  SHOEMAKERS'  DANCE. 

Couples  stand  in  a  circle,  partners  facing  each  other.  I.  Wind, 
wind,  wind  (hands  moving  forward).  Wind,  wind,  wind  (hands 
moving  backward).  Eight  measures  and  repeat.  II.  Pull,  pull  (1,2, 
3,  4).  III.  Pound,  pound,  pound.  IV.  Hop  1,  2,  3  (hop  polka). 
Hands  clasped  (eight  measures),  (a}  Face  to  face;  back  to  back. 
(b)  Face  to  face;  back  to  back,  (c)  Face  to  face;  back  to  back. 
(d)  Face  to  face ;  back  to  back. 

20.  WASHERWOMAN. 

I.  Formation :  In  couples,  facing  each  other,  in  circle  around  the 
room,  (a)  Scrub,  scrub,  scrub,  scrub,  scrub.  Repeat,  (b}  Wring, 
wring,  wring,  wring,  Avring.  Repeat,  (f:)  Dry_the  clothes,  dry  the 
clothes,  dry  the  clothes  (hands  joined  and  arms  swing  back  and 


SOCIAL  PLAYS  AND   GAMES.  35 

forth).  Repeat,  (d)  Take  them  in,  take  them  in  (hands  joined, 
turning,  with  hands  over  head,  in  six  short  steps) .  Repeat.  Partners 
side  by  side. 

II.  (a)  Step,  outside  foot,  inside  foot,  outside  foot.  (Hands 
joined.)  (1>)  Turn,  step  outside  foot,  inside  foot,  outside  foot. 
(.Hands  joined.)  (c)  Hands  not  joined,  partners  facing,  slide  bend, 
slide  bend,  slide  pirouette,  (d )  Finishing  facing  partners  with  three 
stamps.  Repeat. 

21.  LOT  FIRST  TOD. 

The  players  form  a  circle,  facing  the  left.  Beginning  with  the 
leader,  every  other  one  turns  around  and  faces  the  one  behind.  The 
two  players  facing  each  other  join  hands. 

I.  The  movement  represents  rocking  the  body  with  grief.     Both 
step  sideways  toward  the  center,  raising  the  arms  sideways;  then 
bend  the  body  toward  the  center,  letting  the  arms  fall  slowly  to  the 
sides.     (First  beat.)   Raise  the  arms  and  body  and  repeat  (measure 
one).    Repeat  (measure  two).    The  mood  changes,  the  body  is  raised, 
the  arms  lifted  sideways.     Begin  with  the  outward  foot  and  side 
eight  short  steps  outward   (measures  three  and  four).     Repeat  the 
movement  (measures  five  to  eight). 

II.  The  leader  and  all  the  dancers  facing  in  his  direction  start 
backward  with  the  left  foot,  the  others  start  forward  with  the  right. 
Hop  twice  on  each  foot.     Take  two  steps  backward  and  two  turning 
around  (measures  nine  and  ten).     All  dance  around  the  circle  during 
the  second  eight  measures.    On  the  eighth  measure  the  dancers  stop 
and  take  the  position  for  the  first  part  of  the  dance.    Repeat  from 
the  beginning. 

22.  HOPP  MORR  ANNIKA. 

I.  The  players  form  in  a  double  circle,  with  the  inside  hands  joined. 
(Introduction.)     All  walk  n round,  swinging  the  hands   (measures 
one  to  four).    All  skip  around  (measures  five  to  eight). 

II.  The  partners  turn  and  face  each  other.     Every  one  clasps  his 
own  hands,  then  right  hands  across,  clap  one.  clap  left  across,  clap 
own.  clap  both  hands  across,  clap  own,  clap  both  hands  across  (meas- 
ures nine  to  twelve).    Repeat. 

GAMES  WITHOUT  SINGING. 

THE   SQUIRREL   GAME. 

Have  the  players  arranged  in  couples  about  the  room.  These  clasp 
hands  to  represent  trees ;  one  squirrel  is  allowed  to  each  tree.  Another 
player,  chosen  to  be  the  fox,  tries  to  catch  one  of  the  players  as  they 
exchange  places.  If  successful,  the  one  caught  becomes  the  fox,  and 
the  game  continues. 


36  SOCIAL,  PLAYS   AND  GAMES. 

FLOOB  TAG. 

Children  place  the  right  or  left  hand  upon  the  floor  as  the  teacher 
indicates.  At  times  they  move  about  promiscuously,  then  some  one 
chosen  to  be  "  It  "  tries  to  tag  one  of  the  players  while  the  hand  is  not 
on  the  floor.  If  successful,  the  one  tagged  becomes  "  It,"  and  the 
game  continues. 

ANIMAL   BLIND   MAN. 

One  player  is  blindfolded  and  stands  in  the  center  of  the  circle  with 
a  stick  or  wand  in  his  hand.  The  other  players  march  or  dance 
around  him  in  a  circle  until  he  taps  three  times  on  the  floor,  then  they 
all  stand  still  and  he  points  at  one  with  his  wand.  The  one  chosen  must 
then  take  hold  of  the  opposite  end  of  the  wand.  The  blind  man  then 
asks  for  a  noise  like  a  dog,  cat,  or  some  other  animal.  From  the  noise 
the  blind  man  tries  to  guess  the  name  of  the  player;  if  successful, 
they  exchange  places;  if  not,  the  game  continues  with  the  same  blind 
man. 

ANIMAL   CHASE. 

Two  corners  are  marked  oft'  in  the  room  or  playground.  These  are 
called  pens.  One  person  called  the  chaser  stands  outside  of  one  of 
these  pens.  All  the  other  players  stand  in  the  pen  nearest  the  chaser. 
•  These  players  are  named  by  groups — -some  are  bears,  some  are  foxes, 
deer,  rabbits,  etc.  The  chaser  calls  the  name  of  any  group  he  wishes; 
if  he  calls  "  bears,"  the  group  of  that  name  run  to  the  opposite  pen. 

If  any  are  caught  they  help  the  chaser  catch  others. 

f 

BASTE   THE   BEAU. 

One  player  chosen  to  be  the  bear  sits  on  a  stool  in  the  center  of  the 
room.  Another  player  is  chosen  to  be  the  keeper.  The  keeper  stands 
by  the  bear,  holding  one  end  of  a  short  rope  about  2  feet  long  and 
knotted  at  each  end  to  give  a  firm  hold.  The  rest  of  the  players 
stand  around  in  a  circle.  The  object  of  the  game  is  to  touch  or  tag 
the  bear  without  being  tagged  by  the  bear  or  his  keeper.  The  players 
may  attack  the  bear  when  the  keeper  says  "  My  bear  is  free."  Should 
a  player  strike  at  the  bear  before  the  keeper  says  this  they  change 
places.  It  is  the  keeper's  business  to  protect  the  bear.  As  in  the  case 
of  the  bear,  if  the  keeper  tags  one  of  the  players,  they  exchange  places 
and  the  keeper  returns  to  the  ring. 

LETTING  OUT  THE  DOVES. 

The  players  stand  in  groups  of  three.  One  in  each  group,  usually 
the  smallest,  represents  a  dove;  one  a  hawk,  larger  than  the  dove,  or 
a  swifter  runner;  and  a  third  the  owner  of  the  birds.  The  dove 


SOCIAL  PLAYS  AND   GAMES.  37 

stands  in  front  of  the  owner,  who  holds  her  by  the  hand.  The 
hawk  stands  behind  the  owner,  and  is  also  held  by  the  hand.  The 
owner  throws  the  dove  from  her  with  a  gesture  of  the  hand,  first 
toward  herself  and  then  away,  as  a  dove  might  be  tossed  for  flight  in 
the  air,  and  the  little  dove  sails  away,  with  arms  floating  like  wings. 
When  the  dove  has  a  sufficient  start,  so  that  the  larger  and  swifter 
hawk  may  not  get  her  too  easily,  the  owner  throws  the  hawk  in 
the  same  way.  The  hawk  runs  with  outstretched  arms  also,  as  though 
flying,  and  tries  to  catch  the  dove,  but  is  obliged  to  run  over  exactly 
the  same  route  as  the  dove.  At  her  discretion  the  owner  claps  her 
hands  as  a  signal  for  the  two  pet  birds  to  return  to  her,  the  dove 
tr}Ting  to  get  back  without  being  caught  by  the  hawk.  The  clapping 
for  the  return  of  the  birds  is  always  done  with  hollow  hands  to 
make  a  deep  sound.  The  owner  gives  this  when  the  dove  has  reached 
the  farthest  point  to  which  she  thinks  it  best  for  her  to  go,  the 
judgment  for  this  being  determined  sometimes  by  the  gaining  of 
the  hawk  on  the  prey.  The  dove  may  not  turn  to  come  home  until 
the  signal  be  heard. 

MASTER  OF   THE  BING. 

A  circle  is  drawn  on  the  ground.  The  players  stand  shoulder  to 
shoulder  inside  the  circle,  with  arms  folded  either  on  the  chest  or 
behind  the  back.  The  play  starts  on  a  signal,  and  consists  in  trying 
to  push  one's  neighbor  with  the  shoulders  out  of  the  circle.  Any 
player  who  unfolds  his  arms  or  falls  down  is  also  out  of  the  game. 
The  master  of  the  ring  is  he  who  in  the  end  vanquishes  all  of  the 
others. 

MAZE   TAG. 

All  but  two  of  the  players  stand  in  parallel  lines  or  ranks,  one 
behind  the  other,  with  ample  space  between  each  two  players  and 
each  two  ranks;  all  the  players  in  each  rank  clasp  hands  in  a  long 
line.  This  will  leave  aisles  between  the  ranks,  and  through  these  a 
runner  and  chaser  make  their  way. 

The  sport  of  the  game  consists  in  sudden  changes  in  the  direction 
of  the  aisles,  brought  about  by  one  player  who  is  chosen  as  leader  and 
stands  aside,  giving  the  commands,  "  Right  face !  "  or  "  Left  face !  " 
at  his  discretion.  When  one  of  these  commands  is  heard  all  of  the 
players  standing  in  the  ranks  drop  hands,  face  in  the  direction  indi- 
cated, and  quickly  clasp  hands  with  the  players  who  are  then  their 
neighbors  on  the  right  and  left.  This  brings  about  a  change  of  direc- 
tion in  the  aisles,  and  therefore  necessitates  a  change  of  direction  in 
the  course  of  the  two  who  are  running. 

The  success  of  the  game  depends  upon  the  judgment  of  the  leader 
in  giving  commands,  "Right  (left)  face!"  They  should  be  given 


38  SOCIAL.  PLAYS  AND  GAMES. 

quickly  and  repeatedly,  the  leader  often  choosing  a  moment  when  the 
pursuer  seems  just  about  to  touch  his  victim,  when  the  sudden  obstruc- 
tion put  in  his  way  by  the  change  in  the  position  of  the  ranks  makes 
necessary  a  sudden  change  of  direction  on  his  part.  The  play  con- 
tinues until  the  chaser  catches  his  victim,  or  until  a  time  limit  has 
expired.  In  either  case  two  new  players  are  then  chosen  from  the 
ranks  to  take  the  places  of  the  first  runners.  It  is  a  foul  to  break 
through  the  ranks  or  to  tag  across  the  clasped  hands. 

ODD  MAN'S   CAP. 

Twelve  players  make  the  best-sized  group  for  this  game.  Where 
there  are  more  players,  they  should  be  divided  into  small  groups. 
All  but  one  of  the  players  stand  in  a  circle,  with  considerable  space 
between  each  two.  The  odd  man  stands  in  the  center.  Each  player 
is  provided  with  a  stick  about  2  feet  in  length ;  canes  or  wands  may 
be  used  as  a  substitute,  but  the  shorter  sticks  are  better;  they  may 
be  whittled  from  branches  or  bits  of  wood,  and  should  not  be  pointed 
at  the  ends.  The  odd  man  tosses  his  cap  or  a  cloth  bag  toward  the 
circle.  The  players  endeavor  to  catch  it  on  their  sticks  and  keep 
it  moving  from  one  to  another  so  as  to  evade  the  odd  man,  who  tries 
to  recover  his  property.  Should  he  succeed,  he  changes  places  with 
the  one  from  whom  he  recovered  it.  The  sticks  must  be  kept  upright 
in  the  air.  A  dropped  cap  may  be  picked  up  only  by  the  hand,  not 
on  a  stick.  The  sticks  must  always  be  held  upright.  An  old-style 
hat  or  cap  or  bag,  wired  around  the  edge  to  keep  it  spread  open,  is 
best.  This  game  holds  the  interest  of  the  players  intently  and  is  full 
of  sport. 

OLD   BUZZARD. 

One  player  is  chosen  to  represent  the  "old  buzzard ;  "  another 
player  represents  a  hen,  and  the  remainder  are  chickens.  All  the 
players  circle  around  the  buzzard,  saying  in  chorus: 

Chiekany,  chickany,  crany  crow, 

Went  to  the  well  to  wash  my  toe; 

And  when  I  came  back  a  chicken  was  gone. 

The  hen  finishes  by  asking  alone,  "  What  o'clock  is  it,  old  buzzard  ?  " 
The  buzzard  crouches  on  the  ground  during  the  repetition  of  the 
verse,  going  through  the  pantomime  of  building  a  fire  with  sticks, 
and  in  answer  to  the  question  may  name  any  hour,  as  8  o'clock,  9 
o'clock.  The  buzzard  may  say  any  time,  and  so  long  as  he  does  not 
say  12  o'clock  the  players  continue  to  circle  around,  repeating  the 
verse,  the  final  question  being  asked  each  time  by  a  different  player, 
until  the  buzzard  finally  says  "  12  o'clock!"  When  this  occurs,  the 


SOCIAL  PLAYS  AND  GAMES.  39 

ring  stands  still  and  the  following  dialogue  takes  place  between  the 
buzzard  and  the  hen: 

HEN.  Old  Buzzard,  old  Buzzard,  what  are  you  doing? 

BUZZARD.  Picking  up  sticks. 

HEN.  What  do  you  want  the  sticks  for? 

BUZZARD.  _To  build  a  fire. 

HEN.  What  are  yon  building  a  fire  for? 

BUZZARD.  To  broil  a  chicken. 

HEN.  Where  are  you  going  to  get  the  chicken? 

BUZZARD.  Out  of  your  flock. 

The  buzzard,  who  keeps  a  crouching  attitude,  with  face  downcast, 
during  this  dialogue,  suddenly  rises  on  the  last  words  and  chases  the 
players,  who  scatter  precipitately.  When  a  player  is  captured,  the 
buzzard  brings  him  back,  lays  him  down,  and  dresses  him  for  dinner, 
while  the  rest  of  the  players  group  around.  The  buzzard  asks  of  the 
captured  chicken,  "  Will  you  be  picked  or  scraped  ? "  and  goes 
through  the  motions  of  picking  feathers  or  scaling  fish,  as  the  chicken 
decides.  The  buzzard  then  asks,  "  Will  you  be  pickled  or  salted  ? " 
"  Will  you  be  roasted  or  stewed  ?  "  each  time  administering  to  the 
recumbent  chicken  the  appropriate  manipulations.  At  the  end  he 
drags  the  victim  to  a  corner,  and  the  game  goes  on  with  the  remainder 
of  the  players. 

PARTNER  TAG. 

All  of  the  players  but  two  hook  arms  in  couples.  Of  the  two  who 
are  free,  one  is  "  It,"  or  chaser,  and  the  other  the  runner.  The  runner 
may  save  himself  by  locking  arms  with  either  member  of  any  couple 
he  chooses.  Whenever  he  does  so,  the  third  party  of  that  group  be- 
comes runner  and  must  save  himself  in  like  manner.  If  the  runner 
be  tagged  at  any  time,  he  becomes  "  It,"  or  chaser,  and  the  chaser  be- 
comes runner. 

To  get  the  proper  sport  into  this  game  the  couples  should  run  and 
twist  and  resort  to  any  reasonable  maneuvers  to  eludje  the  runner, 
who  is  liable  at  any  time  to  lock  arms  with  one  of  them  and  so  make 
the  other  a  runner. 

For  a  large  number  there  should  be  more  than  one  runner  and 
chaser. 

PEBBLE   CHASE. 

One  player,  who  is  the  leader,  holds  a  small  pebble  between  the 
palms  of  his  hands,  while  the  others  stand  grouped  around  him,  each 
with  his  hands  extended,  palm  to  palm.  The  leader  puts  his  hands 
between  the  palms  of  each  player,  ostensibly  to  drop  therein  the 
pebble  which  he  holds,  as  in  the  game  called  "  Button,  button."  The 
player  who  receives  the  pebble  is  chased  by  the  others,  and  may  only 


40  SOCIAL   PLAYS   AND   GAMES. 

be  saved  by  returning  to  the  leader  and  giving  the  pebble  to  him. 
This  chase  may  begin  as  soon  as  the  players  suspect  who  has  the 
pebble.  Each  player  should  therefore  watch  intently  the  hands  and 
faces  of  the  others  to  detect  who  gets  it,  and  immediately  that  he  sus- 
pects one  start  to  chase  him.  It  is  therefore  to  the.  interest  of  the 
player  who  gets  the  pebble  to  conceal  that  fact  until  the  attention  of 
the  group  is  distracted  from  him,  when  he  may  slip  away  and  get  a 
good  start  before  he  is  detected.  He  may  do  this  whenever  he  sees 
fit,  but  may  not  delay  after  the  leader  has  passed  the  last  pair  of 
hands.  The  leader  will  help  to  conceal  the  fact  of  who  has  the 
pebble  by  passing  his  hands  between  those  of  the  entire  group,  even 
though  he  should  have  dropped  the  pebble  into  the  hands  of  one  of 
the  first  players. 

If  the  pebble  holder  gets  back  to  the  leader  and  gives  him  the  peb- 
ble before  being  tagged,  he  continues  with  the  group.  If  the  pebble 
holder  is  caught  before  he  can  get  back  to  the  leader,  he  must  pay 
forfeit  or  change  places  with  the  leader,  whichever  method  is  decided 
on  before  the  game  opens. 

In  a  crowded  playground  it  is  well  to  require  that  the  chasers  fol- 
low over  exactly  the  same  route  as  the  pebble  man.  Under  such 
conditions,  the  game  is  more  successful  if  limited  to  ten  players  to  a 
group. 

PUSS  IN  THE   CIRCLE. 

A  large  circle  is  marked  on  the  ground  or  floor.  One  player,  who 
is  Puss,  stands  in  the  center  of  this-  circle;  the  other  players  stand 
outside  of  the  circle  surrounding  it.  These  players  may  be  tagged 
by  Puss  whenever  they  have  a  foot  inside  of  the  circle.  They  will 
make  opportunity  for  this  by  stepping  in  and  out  of  the  circle,  teas- 
ing Puss  in  every  possible  way  to  tag  them.  Anyone  whom  Puss 
touches  becomes  a  prisoner  and  is  another  Puss,  joining  the  first  Puss 
in  the  circle  to  help  tag  the  others.  The  last  one  tagged  is  the  winner 
of  the  game. 

BOUND   AND   BOUND  WENT   THE   GALLANT   SHIP. 

This  is  a  simple  little  game  for  very  little  children,  consisting  sim- 
ply in  dancing  around  in  a  circle  with  clasped  hands  as  the  follow- 
ing verse  is  recited,  and  bobbing  down  quickly  as  the  ship  goes  to  the 
bottom  of  the  sea : 

Three  times  round  went  our  gallant  ship, 

And  three  times  round  went  she ; 
Three  times  round  went  our  gallant  ship, 

Then  she  sank  to  the  bottom  of  the  sea. 

A  tumble  as  the  ship  goes  down  adds  much  to  the  spirit  of  the  play. 


SOCIAL  PLAYS  AND   GAMES.  41 

SARDINES. 

This  is  a  game  of  hide  and  seek  that  reverses  some  of  the  usual 
methods  of  playing  the  game.  The  player  chosen  to  be  "  it  "  instead 
of  blinding  goes  out  himself  to  hide,  while  all  of  the  other  players 
stay  at  the  goal.  While  one  of  their  number  counts  100,  they  must 
all  either  blind  their  eyes  or  be  shut  in  one  room  to  give  the  hider  a 
fair  chance.  After  counting  they  shout  "One  hundred!"  and  all 
start  out  to  hunt  for  the  hider.  Any  player  discovering  him  must, 
after  making  sure  that  none  of  the  others  observe  him,  hide  in  the 
same  place  with  the  hider.  If  necessary,  he  must  linger  near  until 
there  is  opportunity  to  do  this  without  being  discovered.  If  there 
should  not  be  room  to  hide  in  the  same  place,  the  finder  must  take 
a  seat  in  plain  sight  near  the  hiding  place.  Sometimes  a  large  num- 
ber of  players  will  be  seated  in  a  room  or  in  a  group  out  of  doors, 
while  the  last  unfortunate  hunters  try  to  locate  some  clever  hiding 
place  which  is  obviously  near,  but  hard  to  detect.  Of  course  it  is 
better  for  the  players  to  actually  hide  with  the  first  hider,  if  practi- 
cable, which  probably  suggested,  on  occasion,  being  "  packed  in  like 
sardines.'' 

This  is  one  of  the  most  interesting  house  party  games  for  young 
people  for  either  out  of  doors  or  within. 

SLAP   CATCH. 

The  players  stand  in  a  circle,  with  one  in  the  center.  Those  in  the 
circle  bend  their  elbows,  which  should  touch  the  sides,  and  extend 
their  hands  in  front,  with  palms  downward.  The  object  of  the  one 
in  the  center  is  to  slap  the  hands  of  any  player  in  the  circle  while 
thus  extended.  The  circle  players  may  bend  the  hands  downward 
or  sideways  at  the  wrist,  but  may  not  withdraw  the  arms  or  change 
the  position  of  the  elbow.  Anyone  slapped  in  this  way  changes 
places  with  the  one  in  the  center. 

The  success  of  this  game  will  depend  upon  the  alertness  of  the  one 
who  is  in  the  center,  who  should  dodge  quickly  and  unexpectedly  from 
one  part  of  the  circle  to  another,  with  many  feints  and  false  moves 
that  will  keep  the  circle  players  uncertain  where  he  is  going  to  slap 
next.  Played  in  this  way.  the  game  calls  for  much  alertness  on  the 
part  of  all  concerned.  The  circle  should  not  be  too  large,  or  the 
action  will  be  too  slow  to  be  interesting. 

SLIPPER  SLAP. 

This  game  is  played  with  a  slipper  or  a  piece  of  paper  folded  in 
several  thicknesses  to  present  a  surface  of  about  3  by  8  inches,  firm 
but  flexible.  This  may  be  crumple"d  at  one  end  to  form  a  sort  of 
handle,  if  desired. 


42  SOCIAL  PLAYS  AND   GAMES. 

One  player  is  chosen  to  stand  in  the  center.  The  others  stand  in  a 
circle,  shoulder  to  shoulder,  so  that  the  center  player  can  not  see  what 
goes  on  behind  their  backs.  The  players  then  pass  the  slipper  from 
hand  to  hand  behind  their  backs,  taking  every  favorable  opportunity 
to  slap  the  one  in  the  center  with  it ;  but  instantly  that  this  is  done 
the  player  holding  the  slipper  must  put  it  again  behind  his  back  and 
pass  it  to  the  next  player,  to  avoid  being  caught  with  the  slipper  in 
his  hand.  The  one  in  the  center  should  try  to  catch  any  player  who 
thus  slaps  him  before  the  slipper  is  passed  to  another  player. 

Very  rapid  action  and  much  sport  may  be  had  from  this  game. 
It  is  rulable  to  hit  the  center  player  with  nothing  but  the  slipper, 
but  the  players  will  use  any  'other  feints  they  choose  to  mislead  him 
as  to  who  holds  the  slipper,  pretending  to  pass  it  or  making  a  false 
move  as  though  to  hit  him,  etc.  The  center  player  must  catch  one  of 
the  circle  men  with  the  slipper  actually  in  his  hands  to  have  it  count. 
Should  this  be  done,  he  changes  places  with  that  player. 

SPOONING. 

All  but  one  of  the  players  stand  in  a  circle.  The  odd  player  is 
blindfolded  and  placed  in  the  center.  He  is  given  two  silver  table- 
spoons. The  players  in  the  circle  clasp  hands  and  move  around  until 
the  blindfolded  player  clicks  the  spoons  together,  at  which  signal  the 
circle  must  stand  still. 

The  blindfolded  player  then  goes  up  to  any  one  in  the  circle,  and 
by  feeling  over  the  face  and  head  with  the  bowls  of  the  spoons  must 
identify  the  player.  He  may  not  feel  on  the  shoulders  or  around 
the  neck,  only  on  the  face  and  head.  A  player  may  stoop  to  disguise 
his  height  for  this,  but  otherwise  may  not  evade  the  touch  of  the 
spoons.  If  the  blindfolded  player  correctly  identifies  the  one  before 
him,  they  exchange  places.  If  incorrect  in  his  guess,  the  play  is 
repeated. 

STAGECOACH. 

A  leader  is  chosen  who  has  a  faculty  for  telling  a  story.  This 
leader  gives  to  each  of  the  players  the  name  of  some  part  of  a  stage- 
coach or  of  its  contents.  Thus,  one  may  be  the  whip,  one  the  wheels, 
one  the  cushions,  one  the  windows,  others  the  brake,  driver,  harness, 
horses,  passengers,  including  specifically  the  fat  old  gentleman,  the 
woman  with  the  bandbox,  etc. 

Where  there  are  many  players,  several  may  be  given  the  same  name, 
though  it  is  desirable  that  these  should  not  all  be  seated  near  together. 
The  leader  then  tells  a  story  in  which  the  various  parts  of  a  stage 
coach  are  mentioned,  and  whenever  he  names  one  of  these  parts  or 
articles  and  player  or  players  bearing  that  name  must  get  up  in- 
stantly, whirl  around  once,  and  sit  down  again.  Any  player  failing 


SOCIAL  PLAYS  AND   GAMES.  43 

to  do  this  must  pay  a  forfeit.  Whenever  the  story-teller  says  "  Stage- 
coach !  "  all  of  the  players  must  get  up  and  turn  around.  At  the 
end  of  this  story  he  will  manage  to  have  the  stage  coach  meet  with  a 
catastrophe,  and  as  soon  as  he  says  "  The  stagecoach,  upset !  "  all  of 
the  players  must  change  seats.  The  leader  takes  this  opportunity  to 
secure  one  for  himself,  and  the  player  who  is  left  without  a  seat 
becomes  leader  for  the  next  game,  or  must  distribute  the  forfeits. 
For  a  large  number  there  should  be  several  more  players  than  chairs. 

STOOP  TAG. 

One  player  is  "  It "  and  chases  the  others,  trying  to  tag  one  of  them. 
A-  player  may  escape  being  tagged  by  suddenly  stooping  or  "  squat- 
ting," but  each  player  may  stoop  but  three  times.  After  the  third 
time  of  stooping  the  player  may  resort  only  to  running  to  escape 
being  tagged.  Any  player  tagged  becomes  "  It."  For  a  large  num- 
ber of  players  there  should  be  several  taggers. 

THIED   SLAP. 

The  players  should  be  divided  into  groups  of  from  5  to  10  each. 
One  in  each  group  is  chosen  to  be  "  It ; "  the  others  line  up  in  front 
of  him,  all  standing  at  a  distance  of  from  30  to  50  feet  from  a  goal 
previously  decided  on.  The  players  in  the  line  hold  their  hands 
extended  forward  the  length  of  the  forearm,  the  elbows  being  bent 
and  touching  the  sides ;  the  palms  should  be  turned  downward. 

The  one  who  is  "  It "  tries  to  slap  the  hands  of  any  of  the  players, 
who  may  evade  him  by  bending  the  hands  downward,  upward,  or 
sideways,  at  the  wrist,  but  may  not  withdraw  the  arm  or  change  the 
position  of  the  elbow.  Any  player  who  receives  three  slaps,  whether 
on  one  or  both  hands,  immediately  upon  receiving  the  third  slap, 
chases  the  one  who  is  "  It  "  toward  the  goal.  Should  the  slapper  be 
caught  before  he  reaches  the  goal,  he  must  continue  as  before,  but  if 
he  succeeds  in  reaching  the  goal  in  safety  he  changes  places  with  his 
pursuer,  who  becomes  "  It,"  or  slapper,  for  the  next  round. 

TOSSING  WANDS. 

This  game  is  played  in  two  forms,  line  form  and  circle  form. 

Line  form.'. — The  players  stand  in  two  lines  or  ranks  facing  each 
other,  all  those  in  one  line  being  provided  with  gymnasium  wands 
about  3  feet  in  length.  A  leader  is  appointed  who  either  counts  or 
commands  as  a  signal  for  tossing  the  wands  back  and  forth  from 
one  line  to  the  other,  as,  "  One,  two,  three,  toss !  "  This  is  even  more 
effective  if  gymnastic  movements  be  taken  on  the  three  counts,  as 
bending  the  trunk  forward  with  the  wand  downward,  stretching  the 
arms  upward  with  the  wand  overhead,  extending  it  forward  at 


44  SOCIAL  PLAYS  AND  GAMES. 

shoulder  height  and  then  tossing  backward  over  the  head.  The  sig- 
nals for  this  would  be,  "  Bend  !  Stretch !  Out !  Toss !  " 

The  wands  should  first  be  held  in  the  hand  with  the  palms  up- 
ward and  caught  with  the  hands  in  the  same  position.  Later  the 
hands'  position  should  be  reversed,  the  wand  being  grasped  with 
the  downward-turned  palms. 

Circle  form. — When  players  are  proficient  in  catching  in  opposite 
lines  or  ranks  they  should  form  a  circle,  facing  around  in  single  file, 
each  player  being  provided  with  a  wand  which  is  tossed  backward 
over  the  head  and  caught  by  the  player  behind.  This  may  be  done 
best  rhythmically  with  the  exercises  and  commands  mentioned  above, 
"  Bend !  Stretch  !  Out !  Toss !  "  The  wand  should  be  caught  with 
the  palms  outward. 

Any  player  failing  to  catch  a  wand  drops  out  of  the  game.  With 
a  little  practice,  however,  this  usually  resolves  itself  into  a  quick 
drill  rather  than  a  game,  but  it  is  a  most  interesting,  skillful,  and 
diverting  play. 

WEE   BOLOGNA  MAN. 

I'm  the  wee  Bologna  Man, 
Always  do  the  best  you  can, 
To  follow  the  wee  Bologna  Man. 

The  leader  who  can  be  very  brisk  in  movement  and  resourceful  in 
ideas  stands  in  front  of  the  other  players  and  repeats  this  verse  rapidly, 
imitating  each  time  he  repeats  the  verse  some  one  action  characteristic 
of  the  members  of  a  band.  For  instance,  the  first  time  he  may  go 
through  the  pantomime  of  playing  a  fife;  the  next  time,  without  any 
pause  between,  he  may  imitate  the  beating  of  a  drum ;  the  next,  playing 
a  fiddle,  trombone,  flute,  cymbal,  triangle,  imitate  the  drum  major, 
etc.  All  of  the  other  players  follow  his  movements. 

The  sport  will  depend  largely  upon  the  rapidity  of  the  time  and 
the  vivacity  that  is  put  into  the  movements. 

WHIP  TAG. 

This  game  may  be  played  with  a  knotted  towel,  though  it  is  perhaps 
more  skillful  and  interesting  when  played  with  a  "  beetle,"  a  small 
cylindrical  sack  about  20  inches  long,  stuft'ed  with  cotton,  and  resem- 
bling in  general  proportions  a  policeman's  club. 

All  but  one  of  the  players  stand  in  a  circle  with  hands  behind  their 
backs.  The  off  player  runs  around  the  outside  carrying  the  beetle, 
which  he  drops  into  the  hands  of  any  player  in  the  circle.  The  player 
immediately  turns  to  chase  his  right-hand  neighbor,  beating  him  as 
much  as  he  can  find  opportunity  while  he  chases  him  around  the  circle 
and  back  to  his  place.  It  is  obviously  to  the  interest  of  this  neighbor 
to  outrun  the  beetle  and  escape  a  buffeting. 


SOCIAL  PLAYS  AND  GAMES.  45 

The  one  holding  the  beetle  then  takes  the  place  of  the  first  outside 
player,  that  one  joining  the  ring.  The  new  beetle  man,  in  turn,  runs 
around  on  the  outside  and  drops  the  beetle  into  any  hands  which  he 
chooses. 

FIND   THE   RING. 

The  players  sit  in  a  circle,  holding  in  their  hands  a  long  piece  of 
string  tied  at  the  ends  so  as  to  form  a  circle  large  enough  to  go  around, 
a  small  ring  having  been  put  upon  this  string.  One  player  is  chosen 
to  stand  in  the  center.  The  players  who  are  seated  then  pass  the  ring 
from  one  to  another,  the  object  being  for  the  player  in  the  center  to 
detect  who  has  the  ring.  The  other  players  will  try  to  deceive  him 
by  making  passes  to  indicate  the  passage  of  the  ring  when  it  really 
is  not  in  their  vicinit}\  When  the  player  in  the  center  thinks  he 
knows  who  has  the  ring,  he  calls  out  the  name  of  that  player.  If 
right,  he  sits  down,  and  that  player  must  take  his  place  in  the  center. 

OLD  WOMAN   FROM   THE  WOOD. 

The  players  are  divided  into  two  even  parties,  which  face  each 
other  from  a  short  distance.  One  party  advances  toward  the  other, 
remarking,  "  Here  comes  an  old  woman  from  the  wood."  The  second 
party  answers,  "  What  canst  you  do  ?  "  Whereupon  the  old  woman 
replies,  "  Do  anything !  "  The  second  party  then  says,  "  Work 
away !  ''  Whereupon  all  the  players  in  the  first  party  proceed  to 
imitate  some  occupation  in  which  an  old  woman  might  engage  and 
which  they  have  previously  agreed  on  among  themselves,  such  as 
sewing,  sweeping,  knitting,  digging  a  garden,  chopping  wood,  knead- 
ing bread,  stirring  cake,  washing,  ironing,  etc.  The  opposite  party 
tries  to  guess  from  this  pantomime  the  occupation  indicated.  Should 
they  guess  correctly,  they  have  a  turn  to  perform  in  the  same  way. 
Should  they  be  unable  to  guess  correctly,  the  first  party  retires, 
decides  on  another  action,  and  returns.  This  form  of  the  game  is 
generally  played  by  girls. 

SPIN   THE  PLATTER. 

All  the  players  are  numbered  and  seated  in  a  circle,  except  oner 
who  stands  in  the  center  and  twirls  a  platter,  tray,  or  some  other 
round  object.  As  he  starts  it  spinning  he  calls  any  number  that  he 
chooses,  and  the  player  bearing  that  number  must  at  once  spring 
forward  and  try  to  catch  the  platter  before  it  ceases  to  spin  and  falls 
to  the  floor.  If  successful,  he  returns  to  his  place  in  the  circle.  If 
not  successful,  he  takes  the  place  of  the  spinner  and  pays  a  forfeit. 
The  forfeits  are  all  redeemed  at  the  end  of  the  game. 

This  game  may  also  be  played  by  calling  the  players  by  name 
instead  of  numbering  them. 


46  SOCIAL.  PLAYS  AND  GAMES. 

THIMBLE  BING. 

All  of  the  players  but  one  stand  in  a  circle,  each  one  clasping  with 
his  left  hand  the  right  wrist  of  his  left-hand  neighbor.  This  leaves 
all  of  the  right  hands  free  and  all  of  the  left  hands  occupied.  The 
odd  player  stands  in  the  center  of  the  circle  and  tries  to  detect  who 
holds  the  thimble  that  is  passed  from  hand  to  hand.  Each  player 
in  the  circle  places  his  right  hand  first  in  the  hand  of  his  neighbor 
on  the  right  and  then  in  the  hand  of  the  neighbor  on  the  left,  keep- 
ing this  movement  going  rythmically,  while  the  entire  circle  repeats 
the  lines: 

The  thimble  is  going,  I  don't  know  where; 
It  is  first  over  here  and  then  over  there. 

AVhen  the  player  in  the  center  thinks  he  knows  who  has  the  thimble 
he  goes  up  to  him  and  says :  "  My  lady's  lost  her  thimble.  Have  you 
it?  "  If  correct,  these  two  players  change  places.  If  incorrect,  the 
one  who  is  "  It "  demands  of  the  player  addressed  to  find  it.  This 
player,  in  turn,  has  one  guess.  If  correct,  he  takes  the  place  of  the 
one  who  has  the  thimble,  the  one  who  was  "  It,"  taking  the  vacant 
place  in  the  circle  and  the  one  who  held  the  thimble  going  to  the 
center.  Should  the  player  be  incorrect  in  his  guess,  he  changes  places 
with  the  one  in  the  center. 

WATER,  SPRITE. 

The  players  stand  in  two  lines,  facing  each  other,  with  a  large  open 
space,  representing  a  river,  between.  One  player,  representing  the 
water  sprite,  stands  in  the  middle  of  the  river  and  beckons  to  one  on 
the  bank  to  cross.  This  one  signals  to  a  third  player  on  the  opposite 
bank  or  side  of  the  river.  The  two  from  the  banks  then  run  across 
to  exchange  places,  the  water  sprite  trying  to  tag  one  of  them.  If 
the  water  sprite  be  successful,  he  changes  places  with  the  one  tagged. 

RINGMASTER. 

This  may  be  made  a  very  amusing  game  for  young  children.  One  is 
chosen  for  ringmaster  and  stands  in  the  center-.  If  he  can  flourish  a 
whip  like  a  true  ringmaster  in  the  circus,  the  interest  of  the  game  will 
be  enhanced.  The  other  players  form  a  circle  around  him  without 
clasping  hands. 

The  ringmaster  turns  and  moves  around  in  a  circle,  snapping  his 
whip  at  each  flourish,  and  calling  the  name  of  some  animal.  The 
players  in  the  circle  immediately  imitate  the  animal,  both  as  to  its 
movements  and  cries.  For  instance,  for  a  bear  they  claw  or  run  on 
"  all  fours  "  or  climb,  and  at  the  same  time  growl ;  for  a  frog  they  may 
hop  or  swim  and  croak.  The  list  may  include  the  hopping  kankaroo, 
the  snarling  and  springing  tiger,  the  humped  and  swaying  camel,  the 


SOCIAL.  PLAYS  AND   GAMES.  47 

balking  and  braying  donkey,  the  flopping  and  barking  seal,  the 
scratching  and  cackling  hen,  the  ponderous  and  mooing  cow,  the 
neighing  and  galloping  horse,  etc. 

The  ringmaster,  at  his  discretion,  may  announce,  "  We  will  all  join 
the  circus  parade !  "  whereupon  all  of  the  animals  should  gallop 
around  the  circle  in  characteristic  movements,  each  choosing  an 
animal  that  he  likes  to  represent. 

JACK  BE   NIMBLE. 

Some  small  object  about  6  or  8  inches  high  is  placed  upright  on 
the  floor  to  represent  a  candlestick.  The  players  run  in  single  file 
and  jump  with  both  feet  at  once  over  the  candlestick,  while  all  of 
them  say  the  following  rhyme : 

Jack  be  nimble, 

Jack  be  quick, 

Jack  jump  over  the  candlestick. 

When  there  are  more  than  10  players,  it  is  advisable  to  have  several 
candlesticks  and  several  files  running  at  once. 

RUTH  AND  JACOB. 

All  of  the  players  but  two  form  a  circle  that  clasp  hands.  The 
two  odd  players  are  placed  in  the  center  of  them,  Jacob  being  blind- 
folded. The  object  of  the  game  is  for  Jacob  to  catch  Ruth  by  the 
sound  of  her  voice.  She  must  do  all  in  her  power  to  avoid  being 
caught.  Jacob  begins  the  game  by  calling,  "  Ruth,"  and  Ruth 
answers  by  saying,  "  Jacob."  She  then  runs  to  some  other  part  of 
the  room.  They  keep  calling  and  answering  until  Ruth  is  caught; 
then  Jacob  returns  to  the  ring.  Ruth  is  blindfolded  and  chooses  a 
new  Jacob. 

JAPANESE   CRAB   RACE. 

The  players  are  lined  up  behind  the  starting  line  in  from  two  to 
five  single  files,  each  containing  same  number.  Opposite  each  file  at 
a  distance  of  25  to  40  feet  there  should  be  drawn  a  circle  of  about 
3  feet  diameter.  The  game  consists  of  a  race  running  backward  on 
feet  and  hands,  or  "  on  all  fours,"  to  the  circle.  To  start,  the  first 
player  in  each  file  gets  in  position  with  his  heels  on  the  starting 
line  and  his  back  to  the  circle  for  which  he  is  to  run,  and  all  start  to 
go  at  a  signal,  the  player  who  reaches  the  circle  scoring  one  point 
for  his  team ;  the  others  follow  in  turn. 

LADY  OF  THE   LAND. 

One  of  the  players  takes  the  part  of  a  lady  and  stands  alone  on 
one  side,  another  represents  a  mother,  and  the  balance  are  children, 


48  SOCIAL   PLAYS   AND   GAMES. 

from  2  to  8  in  number,  whom  the  mother  takes  by  the  hand  on 
either  side  of  her  approaching  the  lady,  repeating  the  following 
verse;  the  children  may  join  with  her  if  they  desire: 

Here  comes  the  widow  from  Sandalin, 

With  all  of  her  children  at  her  hand; 

The  one  can  bake, 

The  other  can  brew, 

The  other  can  make  a  little  white  shoe, 

The  other  can  sit  by  the  fire  and  spin, 

So  pray  take  one  of  my  children  in. 

The  lady  tffen  advances  and  chooses  one  of  the  children,  saying : 

The  fairest  one  I  can  see  is  pretty  "  Mary." 
Then  mother: 

I  leave  my  daughter  safe  and  sound, 

And  in  her  pocket  a  thousand  pound, 

Don't  let  her  ramble, 

Don't  let  her  trot, 

Don't  let  her  carry  the  mustard  pot. 

The  mother  then  departs  with  the  other  children,  leaving  the 
daughter  chosen  with  the  lady.  This  daughter  stays  behind  or 
beside  the  lady.  As  the  mother  departs,  the  lady  says  under  her 
breath  so  that  the  mother  may  not  hear : 

She  shall  ramble, 

She  shall  trot, 

She  shall  carry  the  mustard  pot. 

This  is  repeated  until  all  of  the  children  have  been  chosen  and 
left  with  the  lady,  and  the  mother  then  retires,  but  after  a  time  comes 
back  to  see  her  children.  The  lady  tells  her  she  can  not  see  them. 
The  mother  insists  and  then  is  taken  to  where  they  are  sitting.  The 
mother  comes  to  one  child  and  asks  how  the  lady  is  treating  her : 

She  cut  off  my  curls  and  made  a  curl  pie, 
And  I  have  none  of  it,  not  I ! 

The  mother  asks  the  next  child,  who  says  she  cut  off  her  finger, 
ear,  etc.,  and  made  a  pie,  not  getting  any  of  it.  When  all  have  told 
the  mother  what  the  lady  has  done  to  them,  they  rise  up  and  chase 
the  lady ;  when  she  is  caught  she  is  led  off  to  prison. 

LAST   COUPLE  UP. 

An  odd  number  of  players  is  chosen  for  this  game,  one  is  chosen 
for  catcher,  he  stands  at  one  end  of  the  room  with  his  back  to  the 
other  players,  the  others  stand  in  couples  in  a  long  line  behind  him, 
facing  in  the  same  direction  that  he  does.  The  catcher  should  not  be 
less  than  10  feet  in  front  of  the  first  couple.  The  catcher  calls: 


SOCIAL  PLAYS  AND   GAMES.  49 

"Last  couple  up,"  when  the  last  pair  in  the  line  runs  toward  the 
front,  the  right-hand  one  on  the  right-hand  side  of  the  double  line, 
and  the  left-hand  one  on  the  left-hand  side,  and  try  to  join  hands  in 
front  of  the  catcher.  The  catcher  may  not  chase  them  before  they 
are  in  line  with  him,  and  may  not  turn  his  head  to  see  when  and 
where  they  are  coming.  They  should  try  to  vary  the  method  of  their 
approach,  sometimes  both  circling  far  out  behind  him  on  either 
side,  or  one  of  them  doing  this  and  the  other  running  in  close  to  the 
lines.  If  he  catches  them  before  they  can  clasp  hands,  the  one  he 
does  not  catch  becomes  his  partner  and  they  take  their  place  at  the 
head  of  the  line,  which  should  move  backward  one  place  to  make 
room  for  them,  and  the  other  player  of  the  running  couple  becomes 
catcher.  If  they  are  not  caught,  they  are  free. 

KI-YI. 

This  is  rather  a  noisy  game,  but  even  children  of  a  large  growth 
enjoy  a  little  romp  occasionally.  The  game  is  played  in  the  follow- 
ing manner: 

The  players  stand,  and  arrange  themselves  in  two  lines,  facing 
each  other,  as  in  the  Virginia  Reel.  Everyone  does  simultaneously 
just  as  the  leader  does.  He  starts  the  game  by  singing,  in  a  monoto- 
nous tone,  "  I  turn  my  right  hand  in  (suiting  the  action  to  the  word 
by  extending  the  hand  toward  the  opposite  neighbor),  I  turn  my 
right  hand  out  (turn  body  slightly  around  and  extend  hand  toward 
back),  I  give  my  right  hand  a  shake,  shake,  shake  (shake  hand), 
and  turn  my  body  about"  (turn  completely  around).  The  leaders 
turn  around  and  march  to  what  was  the  end  of  the  line,  followed  by 
their  respective  files.  As  they  meet,  they  come  up  in  couples  to  their 
original  places.  As  they  start  off  they  sing  until  in  places  the  fol- 
lowing doggerel : 

Ki,  yi,  yi,  yi,  yi, 

Ki,  yi,  yi, 

Ki,  yi,  yi, 

Ki,  yi,  yi,  yi,  yi. 

When  the  company  are  facing  each  other  again,  the  leader  starts 
with  the  left  hand,  all  the  foregoing  being  gone  through  again. 

The  right  foot  is  treated  in  the  same  way.  Then  the  left  foot. 
The  head  is  utilized  by  saying :  "  I  put  my  head  to  the  right,  I  put 
my  head  to  the  left,  I  give  my  head  a  shake,  shake,  shake,  and  turn 
my  body  about."  At  the  end  of  every  movement  the  march  of 
the  "  Ki-Yi "  is  repeated.  The  head  movement  is  the  last.  By  the 
time  this  is  reached,  the  company  have  had  gymnastics  and  laugh- 
ing enough  to  insure  a  good  night's  sleep. 


50  SOCIAL  PLAYS   AND   GAMES. 

FOX  AND   GEESE. 

One  player  is  chosen  to  be  fox  and  another  to  be  gander.  The  re- 
maining  players  stand  in  line  behind  the  gander  each  with  his  hands 
on  the  shoulders  of  the  one  in  front.  The  gander  tries  to  protect  his 
band  of  geese  from  the  fox.  He  dodges  first  one  way  and  then  the 
other,  aided  by  the  other  geese,  who  double  and  redouble  their  line 
to  keep  the  fox  away.  If  he  succeeds  in  tagging  the  last  goose,  they 
exchange  places.  The  following  rhyme  adds  zest  to  the  game : 

The  Fox.  Geese,  geese,  gannio ! 

The  GEESE.  Fox,  fox,  fanuio ! 

The  Fox.  How  many  geese  have  you  to-day? 

The  GEESE.  More  than  you  can  carry  away. 

FRO,G  IN  THE  MIDDLE. 

One  player  is  chosen  to  be  the  frog  and  sits  in  the  middle  of  the 
floor  with  his  feet  crossed  in  tailor  fashion.  Where  there  are  many 
players  it  is  better  to  have  two  frogs.  The  other  players  stand  in  a 
circle  around  the  frog  saying :  "  Frog  in  the  sea  can't  catch  me.n 
They  dance  forward  toward  the  frog,  teasing  him  and  trying  to  keep 
from  being  tagged  by  him.  If  he  succeeds  in  tagging  one,  the  frog 
exchanges  places  with  the  player,  who  takes  his  place  as  frog.  The 
frog  is  not  permitted  at  any  time  to  move  from  his  position  in  the 
middle  of  the  floor. 

GARDEN   SCAMP. 

All  but  two  of  the  players  form  a  circle  which  is  the  garden. 
Within  this  the  one  who  is  the  scamp  takes  his  place,  the  one  who 
represents  the  gardener  remains  on  the  outside.  The  gardner  says 
to  the  scamp  inside,  "  Who  let  you  into  my  garden  ?  "  The  scamp 
answers,  "  I  let  myself  into  your  garden."  The  scamp  then  must 
dodge  in  and  out  through  the  circle  with  the  gardener  following 
through  every  place  the  scamp  goes,  not  being  permitted  to  go 
through  any  other  place.  When  the  scamp  is  caught  he  becomes 
gardener  and  chooses  another  player  from  the  circle  to  be  the  scamp. 
The  scamp  may  do  anything  that  he  pleases,  jump  over  the  clasped 
hands,  play  leapfrog  with  one  of  the  players,  or  anything  that  he 
thinks  of  to  keep  the  gardener  from  catching  him. 

GOING  TO  JERUSALEM. 

A  row  of  chairs  is  placed  so  that  they  face  alternately  in  opposite 
directions,  one  chair  to  one  side,  the  next  to  the  opposite  side,  etc. 
There  should  be  one  chair  less  than  the  number  of  players.  The  game 
is  better  when  played  with  musical  accompaniment.  The  game  starts 


SOCIAL  PLAYS  AND   GAMES.  51 

by  having  all  of  the  players  seated  in  the  chairs  except  one.  This  one 
\valks  around  saying  "  I'm  going  to  Jerusalem,  I'm  going  to  Jeru- 
salem," in  a  sing-song  fashion.  At  his  discretion  he  stops  at  the  chair 
of  some  player  and  taps  on  the  floor,  whereupon  this  player  must  get 
up  and  follow  the  leader,  who  taps  the  floor  by  other  chairs  until  all 
of  the  players  are  marching  around  the  chairs.  If  there  be  music  it 
stops  suddenly  and  all  scramble  to  secure  a  chair;  if  not,  the  leader 
suddenly  takes  one  himself,  which  is  the  signal  for  all  of  the  others' 
to  be  seated.  The  one  who  fails  to  secure  a  seat  becomes  leader  and  the 
game  continues. 

GUESS  WHO. 

When  there  are  more  than  20  players  it  is  desirable  to  have  them 
separated  into  several  groups.  Each  group  has  a  leader  and  lines  up 
side  by  side,  with  the  leader  in  the  middle.  The  odd  player  stands 
in  front  of  the  line  facing  it,  and  asks,  "  Have  you  seen  my  friend?" 
The  line  answers  "  No." 

PLAYER.  Will  you  help  me  find  him? 

LINE.  Yes. 

PLAYER.  Put  your  finger  on  your  lips  and  follow  me. 

The  odd  player  then  runs  to  another  part  of  the  room  followed  by 
the  players  in  the  line  each  with  his  fingers  on  his  lips.  When  he 
reaches  the  place  he  stands  with  his  back  to  the  line  which  is  arranged 
in  different  order  by  its  leader.  The  leader  chooses  one  of  the  players 
who  now  comes  forward  and  asks,  trying  to  disguise  his  voice,  "  Guess 
who  stands  behind  you."  If  the  odd  player  guesses  correctly  he 
retains  his  position,  turns  about  to  face  the  line,  and  the  dialogue 
begins  over  again.  If  he  fails  the  one  who  stood  behind  him  takes  his 
place. 

GYPSY. 

One  player  is  chosen  to  be  the  mother,  another  is  to  be  the  gypsy. 
All  of  the  other  players  represent  children.  The  gypsy  remains  in 
hiding  while  the  mother  talks  to  her  children  pointing  to  each  one  as 
she  repeats  the.  following : 

I  charge  you  children  every  one, 
To  keep  good  house  while  I  am  gone, 
You  and  you,  and  especially  you, 
Or  else  I'll  beat  you  black  and  blue. 

The  mother  then  goes  away  to  blind  her  eyes.  While  she  is  gone 
the  gypsy  comes  forth  and  sends  the  children  away,  one  by  one,  to 
hiding  places.  Then  the  mother  returns  and  finding  her  children  all 
gone  searches  for  them.  When  they  are  all  returned  they  chase  the 
gypsy.  The  one  successful  in  catching  her  becomes  mother  for  the 
next  game.  The  former  mother  becomes  the  gypsy. 


52  SOCIAL  PLAYS   AND  GAMES. 

BODYGUARD. 

A  small  space  is  marked  off  at  one  end  of  the  ground  as  a  "  home  " 
or  "goal;"  one  player  is  chosen  to  be  Panjandrum,  an  important 
person  who  needs  a  bodyguard.  Two  other  players  are  chosen  to 
be  the  guard.  The  game  starts  with  these  three  players  in  the 
"  home  "  ground  and  the  balance  of  the  players  at  large.  The  three 
go  forth  with  the  two  players  who  act  as  bodyguard,  clasping  each 
other  by  the  hand,  preceding  the  Panjandrum.  The  object  of  the 
game  is  for  the  players  at  large  to  touch  the  Panjandrum  without 
being  tagged  by  the  guards.  Whenever  a  guard  succeeds  in  tagging 
a  player  the  Panjandrum  and  his  guards  return  at  once  to  the 
"home;"  thereupon  the  player  tagged  changes  places  with  the  Pan- 
jandrum, and  the  game  continues  as  before. 

CHICKEN  MARKET. 

One  player  is  chosen  to  be  market  man  and  another  buyer.  The 
rest  of  the  players  are  chickens.  They  stoop  down  in  a  row,  clasp- 
ing their  hands  under  their  knees.  The  buyer  approaches  the  market 
man  asking,  "  Have  you  any  chickens  for  sale  ?  "  The  market  man 
answers,  "  Would  you  like  to  see  and  try  them  ?  "  Whereupon  the 
buyer  goes  up  to  different  chickens  and  tries  them  by  laying  over 
the  head  his  clasped  hands  and  pressing  downward  on  them.  The 
buyer  pretends  to  be  dissatisfied  with  some  of  the  chickens,  saying, 
*'  This  one  is  too  fat,"  "  This  one  is  too  lean,"  etc.,  until  at  last  he 
finds  one  that  suits  him.  The  chickens  bought  are  supposed  to  go 
through  this  ordeal  without  smiling. 

When  a  chicken  is  found  to  be  right,  the  buyer  and  the  market 
man  take  him  by  the  arms,  one  on  either  side.  He  remains  in  his 
first  position  with  hands  clasped  under  his  knees,  swinging  him 
forward  and  backward  three  times.  Should  he  stand  this  test  with- 
out loosening  his  clasped  hands  he  is  supposed  to  be  right  and  the 
buyer  puts  him  off  to  the  opposite  side  of  the  ground  or  floor.  The 
game  continues  until  all  of  the  chickens  are  sold.  .All  that  smile 
have  to  pay  a  forfeit. 

CATCHING  THE  CANE. 

The  players  should  be  numbered  consecutively,  standing  in  a 
circle  or  semicircle,  one  player  standing  in  the  center  of  the  circle 
or  in  front  of  the  semicircle  with  his  index  finger  on  the  top  of  a 
cane  or  wand  standing  perpendicular  to  the  floor.  He  lifts  his 
finger  from  the  cane  and  at  the  same  time  calls  the  number  assigned 
to  one  of  the  players  in  the  circle.  The  person  whose  number  is 
called  must  run  forward  and  catch  the  cane  before  it  lies  on  the  floor. 
If  he  fails  he  must  run  to  his  place  in  the  circle.  If  successful  he 


SOCIAL  PLAYS  AND   GAMES.  53 

changes  his  place  with  the  center  player.  This  will  be  more  inter- 
esting if  the  one  who  is  calling  the  numbers  gives  them  in  unex- 
pected order,  sometimes  repeating  a  number  he  has  already  given. 

CROSSING   THE   BROOK. 

This  game  is  a  great  favorite  with  little  children.  A  place  to  rep- 
resent a  brook  is  marked  off  by  two  lines  on  the  floor;  the  players 
run  and  try  to  jump  across  the  brook.  Those  who  succeed  turn 
around  and  jump  back  with  a  standing  jump  instead  of  the  running 
jump.  On  either  of  these  jumps  the  player  who  does  not  cross  the 
line  of  the  brook  gets  into  the  water  and  must  run  home  for  dry 
clothes,  therefore  being  out  of  the  game.  The  successful  players  are 
led  to  wider  and  wider  places  in  the  brook  to  jump  until  the  widest 
part  is  reached;  the"  one  who  jumps  successfully  at  the  widest  point 
is  considered  the  winner. 

DUMB-BELL  TAG. 

The  players  stand  scattered  promiscuously,  one  of  their  number, 
who  is  "  It."  being  closed  in  the  center  at  the  opening  of  the  game. 
A  dumb-bell  is  passed  from  one  player  to  another;  the  one  who  is 
"  It "'  tries  to  tag  the  person  who  has  the  dumb-bell.  The  one  tagged 
becomes  "  It." 

THE  FARMER  IS  COMING. 

One  player,  chosen  to  be  farmer,  is  seated ;  the  remaining  players 
stand  at  distance  in  a  circle.  The  leader  taps  some  of  them  on  the 
shoulder  as  an  invitation  to  go  to  the  farmer's  orchard  for  apples 
with  him.  The}^  leave  their  home  ground  and  approach  as  near  to 
the  farmer  as  they  dare.  The  game  is  more  interesting  if  they  can 
do  this  and  practically  surround  him.  Suddenly  the  farmer  claps 
his  hands  and  all  players  must  stand  still  while  the  leader  calls  out 
"  The  farmer  is  coming,"  the  players  trying  to  get  back  to  their 
home  grounds,  the  farmer  chasing  them.  He  may  not  start,  howr- 
ever,  until  the  leader  has  given  his  warning.  Any  player  caught 
changes  places  with  the  farmer. 

BEAR  IN   THE  PIT. 

A  bear  pit  is  formed  by  the  players  joining  hands  in  a  circle  with 
one  in  the  center  as  bear.  The  bear  tries  to  get  out,  under  or  over  or 
breaking  through  the  bars  (clasped  hands).  Should  he  escape,  all 
of  the  others  give  chase;  the  one  catching  him  becomes  the  bear. 

This  is  a  favorite  game  with  boys,  and  is  not  so  rough  as  "  Bull  in 
the  ring." 


54  SOCIAL  PLAYS  AND   GAMES. 

BLACK  TOM. 

Two  parallel  lines  are  drawn  on  the  ground,  with  a  space  of  from 
30  to  50  feet  between  them.  All  of  the  players  except  one  stand 
beyond  one  of  these  lines.  In  the  middle  territory  between  the  lines 
the  one  player  who  is  chosen  to  be  "  It "  takes  his  place,  and  cries 
"  Black  Tom !  Black  Tom  !  Black  Tom !  "  repeating  the  words  three 
times  as  here  given,  whereupon  the  other  players  must  all  rush  across 
to  the  opposite  line,  being  chased  by  the  center  player,  who  catches 
any  that  he  may.  Anyone  so  caught  joins  him  thereafter  in  chasing 
the  others. 

The  particular  characteristic  of  this  game  lies  in  the  fact  that  the 
center  player,  instead  of  saying  "  Black  Tom."  may  trick  or  tantalize 
the  runners  by  crying  out  "  Yellow  Tom,"  or  "  Blue  Tom,"  or  "  Red 
Tom,"  or  anything  else  that  he  chooses.  Any  player  who  starts  to 
run  upon  such  a  false  alarm  is  considered  captive  and  must  join  the 
players  in  the  center.  This  is  also  true  for  any  player  who  starts 
before  the  third  repetition  of  "  Black  Tom." 

Another  way  of  giving  false  alarm  is  for  any  one  of  the  center 
players  except  the  original  "  It "  to  give  the  signal  for  running.  Any 
runner  starting  in  response  to  such  a  signal  from  any  of  the  chasers 
except  the  original  "  It "  thereby  becomes  captive  and  must  join  the 
players  in  the  center. 

The  first  one  to  be  caught  is  center  player,  or  "  It,"  for  the  next 
game. 

CIRCLE  RACE. 

The  players  stand  in  a  circle  a  considerable  distance  apart  and  face 
around  in  single  file  in  the  same  direction.  At  a  signal  all  start  to 
run,  following  the  general  outline  of  the  circle,  but  each  trying  to 
pass  on  the  outside  the  runner  next  in  front  of  him,  tagging  as  he 
passes.  Any  player  passed  in  this  way  drops  out  of  the  race.  The 
last  player  wins.  At  a  signal  from  a  leader  or  teacher  the  circle 
faces  about  and  runs  in  the  opposite  direction.  As  this  reverses  the 
relative  position  of  runners  who  are  gaining  or  losing  ground,  it  is  a 
feature  that  may  be  used  by  a  judicious  leader  to  add  much  merriment 
and  zest  to  the  game. 

EXCHANGE. 

One  player  is  blindfolded  and  stands  in  the  center.  The  other 
players  sit  in  chairs  in  a  circle  around  him.  It  is  advisable  to  have 
the  circle  rather  large.  The  players  are  numbered  consecutively  from 
one  to  the  highest  number  playing. 


SOCIAL.   PLAYS  AND   GAMES.  55 

The  game  may  start  with  the  players  sitting  in  consecutive  order, 
or  they  may  change  places  at  the  outset  to  confuse  the  blinded  player, 
although  the  changing  of  places  takes  place  very  rapidly  in  the 
course  of  the  game.  The  blinded  player  calls  out  two  numbers, 
whereupon  the  players  bearing  those  numbers  must  exchange  places, 
the  blinded  player  trying  meanwhile  either  to  catch  one  of  the  players 
or  to  secure  one  of  the  chairs.  Any  player  so  caught  must  yield  his 
chair  to  the  catcher.  No  player  may  go  outside  of  the  circle  of 
chairs,  but  any  other  tactics  may  be  resorted  to  for  evading  capture, 
such  as  stooping,  creeping,  dashing  suddenly,  etc. 

FLOWEBS  AND   THE  WIND. 

This  game  is  suitable  for  little  children.  The  players  are  divided 
into  two  equal  parties,  each  party  having  a  home  marked  off  at 
opposite  ends  of  the  playground,  with  a  long  neutral  space  between. 
One  party  represents  a  flower,  deciding  among  themselves  which 
flower  they  shall  represent,  as  daisies,  lilies,  lilacs,  etc.  They  then 
walk  over  near  the  home  line  of  the  opposite  party.  The  opposite 
players  (who  represent  the  wind)  stand  in  a  row  on  their  line,  ready 
to  run,  and  guess  what  the  flower  chosen  by  their  opponents  may  be. 
As  soon  as  the  right  flower  is  named  the  entire  party  owning  it  must 
turn  and  run  home,  the  wind  chasing  them.  Any  players  caught  by 
the  wind  before  reaching  home  become  his  prisoners  and  join  him. 
The  remaining  flowers  repeat  their  play,  taking  a  different  name 
each  time.  This  continues  until  all  of  the  flowers  have  been  caught. 

FOLLOW   CHASE. 

The  players  stand  in  a  circle  with  arms  stretched  sideways,  resting 
on  each  other's  shoulders,  thus  making  a  wide  distance  between. 
One  player  is  chosen  for  runner  and  one  for  chaser.  The  game 
starts  with  the  runner  in  one  of  the  spaces  under  the  outstretched 
arms  of  the  players  and  the  chaser  in  a  similar  position  on  the 
opposite  side  of  the  circle.  At  a  signal  from  a  leader  both  start, 
the  runner  weaving  in  and  out  between  the  players  or  dashing  across 
the  circle  in  any  way  that  he  sees  fit,  but  the  chaser  must  always 
follow  by  the  same  route.  If  the  runner  be  caught,  he  joins  the 
circle;  the  chaser  then  takes  his  place  as  runner  and  chooses  another 
player  to  be  chaser. 

The  leader  (who  may  be  one  of  the  players)  may  close  the  chase  if 
it  becomes  too  long  by  calling  "  time !  "  when  both  runners  must 
return  to  their  places  in  the  circle,  new  ones  taking  their  places. 

For  large  numbers  there  may  be  two  or  more  runners  and  an  equal 
number  of  chasers,  or  the  players  may  be  divided  into  small  groups. 


56  SOCIAL  PLAYS  AND   GAMES. 

PARLOR  GAMES. 


All  the  company  being  seated  around  the  room,  two  people  are 
chosen,  one  for  postmaster  the  other  for  carrier. 

The  former,  stationing  himself  at  the  top  of  the  room,  gives  every 
person  the  name  of  some  city,  writing  the  names  down  upon  a  sheet 
of  paper  as  they  are  given.  The  carrier,  then  being  blindfolded, 
stands  in  the  center  of  the  room  and  the  postman  announces,  for 
instance :  "  I  have  a  letter  to  go  between  New  York  and  Chicago." 

As  soon  as  the  names  are  mentioned  the  persons  representing  these 
cities  must  change  places,  the  carrier  at  the  same  time  trying  to  catch 
one  of  them.  If  he  succeeds,  and  can,  while  blindfolded,  give  the 
name  of  the  captured  player,  the  latter  must  in  turn  become  carrier. 

Whenever  the  postman  says :  "  I  have  letters  to  go  all  over  the 
world,"  everybody  must  rise  and  change  places,  and  if,  in  the  general 
confusion,  the  carrier  secures  a  seat,  the  person  wrho  remains  standing 
after  all  the  seats  are  taken,  becomes  the  carrier. 

SHADOW  PORTRAITS. 

One  of  the  party  being  appointed  artist,  each  person  in  turn  is 
seated  near  the  wall  with  the  shadow  of  his  face  falling  in  profile 
upon  a  sheet  of  white  paper  held  or  pinned  upon  the  wall.  The  only 
light  in  the  room  must  be  a  single  powerful  lamp,  that  the  shadow 
may  be  clear  and  distinct. 

The  artist  traces  with  a  pencil  the  outline  of  the  shadowy  face  and 
head  upon  the  white  surface,  then  hands  the  result  to  an  assistant, 
who  carefully  cuts  out  the  head,  and  upon  the  back  of  the  paper 
remaining  writes  the  name  of  the  person  represented. 

After  each  player  has  been  thus  treated  the  papers  are  fastened,  one 
at  a  time,  upon  a  dark  curtain  or  screen,  which,  showing  through  the 
head-shaped  openings,  gives  them  the  appearance  of  silhouettes.  The 
company  is  then  called  upon  to  guess  the  names  of  the  originals. 

THE  HOUSE   THAT  JACK  BUILT. 

The  players  sit  in  a  circle  and  some  one  begins  by  claiming  to 
possess  whatever  object  he  may  choose,  the  more  out  of  the  way  the 
better.  For  instance : 

No.  1  announces,  "  Here  is  the  key  of  Bluebeard's  closet." 

No.  2  adds,  "  Here  is  the  string  that  was  tied  to  the  key  of  Blue- 
beard's closet." 

No.  3  continues,  "  Here  is  the  hemp  that  made  the  string  that  was 
tied  to  the  key  of  Bluebeard's  closet." 


SOCIAL  PLAYS  AND   GAMES.  57 

No.  4  goes  on,  "  Here  is  the  farmer  that  sowed  the  hemp  that  made 
the  string  that  was  tied  to  the  key  of  Bluebeard's  closet." 

And  so  on,  as  long  as  the  accumulation  of  objects  can  be  remem- 
bered. A  failure  to  give  them  all  correctly  is  punishable  by  a  forfeit. 

BIRDS  HAVE  FEATHERS. 

The  leader  throws  up  his  hands  every  time  he  mentions  a  bird  or 
animal.  The  players  follow  him  when  he  mentions  any  feathered 
animal,  but  keep  their  hands  upon  their  knees  when  he  mentions  a 
species  which  have  not  feathers.  The  object,  of  course,  is  to  catch 
them  unawares  by  naming  birds  very  rapidly  and  introducing  names 
of  objects  that  have  no  feathers.  Thus :  Chickens  have  feathers.  (All 
hands  up.)  Ducks  have  feathers.  (Hands  up.)  Eagles  have  feath- 
ers. (Hands  up.)  Cats  have  feathers.  (Leaders  hands  up.)  All 
others  whose  hands  have  been  raised  pay  a  forfeit. 

MY   GRANDFATHER'S  TRUNK. 

The  company  being  seated  in  a  circle,  somebody  begins  by  saying, 
for  instance : 

No.  1.  "  I  pack  my  grandfather's  trunk  with  a  pair  of  spectacles." 

No.  2.  "  I  pack  my  grandfather's  trunk  with  a  pair  of  spectacles  and  a  silk 

hat." 

No.  3.  "  I  pack  my  grandfather's  trunk  with  a  pair  of  spectacles,  a  silk  hat, 

and  a  dime  novel." 

And  so  on,  each  person  repeating  all  the  articles  already  men- 
tioned, besides  adding  a  new  one. 

If  anyone  fails  to  repeat  the  list  correctly,  he  drops  out  of  the 
game,  which  is  continued  until  the  contents  of  the  trunk  are  unani- 
mously declared  too  numerous  to  remember. 

ALLITERATION. 

The  party  sit  around  the  room.  The  leader  begins  by  repeating 
sentence  No.  1.  Each  person  repeats  the  sentence  in  turn.  When  all 
have  repeated,  the  leader  adds  the  second  sentence;  the  combination 
is  then  repeated  by  each  in  turn.  The  leader  adds  a  sentence  at  every 
return  to  him  until  all  ten  sentences  have  been  repeated  in  the  order 
in  which  they  were  given.  Anyone  making  a  mistake  either  in  omis- 
sion or  misproduction  is  counted  out.  As  the  rank  is  depleted, 
the  remaining  ones  are  required  to  repeat  faster.  A  prize  is  given 
to  the  one,  other  than  the  leader,  who  makes  no  mistakes. 

The  sentences  are  as  follows : 

1.  One  old  ox  opening  oysters. 

2.  Two  toads  teetotally  tired  trying  to  trot  to  Trixburg. 

3.  Three  tony  tigers  taking  tea. 

4.  Four  fishermen  fishing  for  frogs. 


58  SOCIAL  PLAYS  AND   GAMES. 

5.  Five  fantastic  Frenchmen  fanning  five  fainting  females. 

6.  Six  slippery  snakes  sliding  slowly  southward. 

7.  Seven  Severn  salmon  swallowing  shrimps. 

8.  Eight  egotistical  Englishmen  eating  enormously. 

9.  Nine  nautical  Norwegians  nearing  northern  Norway. 

10.  Ten  tiny  toddling  tots  trying  to  train  their  tongues  to  trill. 

A   GOOD   FAT   HEN. 

The  leader  begins  by  saying  "A  good  fat  hen,"  which  is  repeated 
by  everybody  around  the  room.  He  then  says :  "  Two  ducks  and  a 
good  fat  hen,"  which  is  likewise  repeated.  Then :  "  Three  plump 
partridges,  two  ducks,  and  a  good  fat  hen,"  which  again  goes  the 
rounds.  And  so  on  until,  by  adding  one  object  at  a  time,  the  follow- 
ing is  produced : 

"  Ten  sacrificed  monkeys  on  a  catamaran  floating,  9  Mesopotamia!! 
mares  with  their  manes  and  tails  in  good  order,  8  transmogrified 
priests  in  their  pulpits  preaching,  7  piggywiggies  in  a  rye  field 
rooting,  6  screaming  squirrels  in  a  crab  tree  screeching,  5  gray  geese 
in  a  green  field  grazing,  4  hares  headless,  3  plump  partridges,  2 
ducks,  and  a  good  fat  hen." 

Whoever  fails  to  repeat  correctly  this  heterogeneous  accumulation 
is  dropped  from  the  game. 

AUCTION. 

Have  ready  a  basket  filled  with  packages  containing  various  ob- 
jects, the  more  absurd  and  the  greater  the  variety  the  better,  only 
they  must  be  disguised  by  their  paper  wrappings. 

Select  as  auctioneer  somebody  who  is  glib  of  tongue  and  ready  of 
wit  and  mount  him  in  a  chair  or  upon  a  table  within  reach  of  the 
basket  of  packages. 

Each  of  the  company  being  provided  with  a  saucer  containing  50 
beans,  the  auctioneer  begins  his  task.  He  holds  up  one  of  the  pack- 
ages, recommending  it  to  the  audience  and  speculating  as  to  its  con- 
tents. In  this  he  can  give  full  scope  to  his  imagination,  suggesting 
anything  from  a  set  of  diamonds  to  a  steam  yacht.  The  audience 
bids  as  at  a  genuine  auction,  offering  beans  in  exchange  for  the  de- 
sired article,  which  is,  of  course,  "  knocked  down  "  to  the  highest 
bidder. 

If  the  objects  to  be  auctioned  are  of  any  value  it  is  well  to  limit 
them  to  the  number  of  players,  and  then  by  forbidding  any  offer 
lower  than  25  beans,  make  it  impossible  for  any  person  to  secure 
more  than  one  package. 

CROOKED  ANSWERS. 

Seat  all  the  players  in  a  circle,  then  tell  each  in  turn  to  whisper  a 
question  to  his  right-hand  neighbor,  giving  a  correct  answer  to  his 


SOCIAL  PLAYS  AND   GAMES.  59 

own  question  to  the  player  at  his  left.  In  this  way  everybody  re- 
ceives an  absurd  combination,  which  is  repeated  aloud  after  all 
questions  and  answers  have  been  given. 

For  example,  A  says  to  his  right-hand  neighbor :  "  "Who  taught 
you  to  sing  so  well  ?  "  and  turning  to  the  left  whispers  as  a  reply, 
"  The  leader  of  the  frog  orchestra."  B,  who  heard  the  latter,  has 
received  from  another  source  the  question,  "  What  is  your  favorite 
dish  ?"  and  received  for  an  answer  "  The  leader  of  the  frog  orches- 
tra." While  the  player  at  A's  right  saj^s :  "  I  was  asked  '  who  taught 
you  to  sing  so  well,'  and  received  for  an  answer  '  six  bottles  of 
hop  bitters.' " 

GIVEN  WORDS. 

Every  player  whispers  to  his  right-hand  neighbor  a  single  word, 
whatever  he  pleases,  only  the  more  difficult  for  introduction  into 
an  ordinary  sentence  the  better. 

When  everybody  knows  his  word,  one  player  begins  by  asking  a 
question  of  his  neighbor  at  the  left,  who  is  obliged  in  his  reply  to 
introduce  the  word  that  he  has  previously  received,  as  adroitly  as 
possible,  to  avoid  its  detection  by  his  interrogator. 

If  the  latter  can  not  discover  the  word,  he  pays  a  forfeit. 

A  PEANUT  GATHERING. 

As  the  title  of  this  game  suggests,  the  object  is  to  gather  peanuts 
which  have  been  hidden  in  every  available  nook  and  corner,  in 
crevices  of  sofas  and  chairs,  under  bric-a-brac,  on  mantels,  and 
behind  doors,  etc.  Each  hunter  is  provided  with  a  bag  which  is 
made  with  a  piece  of  tape  across  the  middle  of  the  top,  on  which 
his  name  is  written.  As  the  peanuts  are  found  they  are  placed  in 
the  bags.  When  it  is  thought  that  the  hunting  has  continued  long 
enough  the  hunters  are  recalled  to  the  room  from  which  they  started 
and  the  contents  of  the  bags  are  counted  by  a  committee  appointed 
for  the  purpose,  and  a  prize  is  awarded  to  the  hunter  having  the 
largest  number  of  peanuts. 

SLICING  FLOUR. 

Fill  a  medium-sized  bowl  with  flour  and  press  it  compactly.  Turn 
it  out  on  a  large  plate,  placed  in  the  center  of  a  table.  On  top  of 
the  mold  thus  formed  lightly  lay  a  small  ring. 

The  object  of  the  game  is  to  slice  as  much  flour  from  all  sides  of 
the  mound  as  possible,  without  disturbing  the  ring.  Each  player 
has  a  broad-bladed  knife,  and  each  in  turn  removes  a  thin  slice 
of  flour,  until  finally  only  a  slender  column  is  left  with  the  ring 
on  top. 


60  SOCIAL  PLAYS  AND  GAMES. 

The  unlucky  person  knocking  down  the  ring  is  obliged  to  pick  it 
up  from  the  pile  of  flour  with  his  teeth.  As  he  is  probably  laugh- 
ing as  heartily  as  the  others,  this  is  quite  a  difficult  feat  to  perform. 

SHAKING   QUAKER. 

The  company  sit  in  a  circle.  One  begins  the  game  by  patting  his 
hand  on  his  knee  and  saying  to  his  left-hand  neighbor :  "  Neighbor, 
neighbor,  how  art  thou  ?  "  to  which  No.  2  replies :  "Very  well,  thank 
thee."  No.  1  then  asks:  "And  how  is  the  neighbor  next  to  thee?  " 
to  which  No.  2  responds,  "  I  don't  know,  but  I'll  go  see."  No.  2 
then  turns  to  No.  3  and  asks  the  same  question,  and  so  the  ques- 
tions pass  around  the  whole  circle  until  they  come  back  to  No.  1, 
who,  after  replying,  repeats  the  questions  to  No.  2,  patting  both  knees 
with  both  hands.  This  form  is  then  gone  through  with  by  the  whole 
company ;  No.  1  then  taps  his  right  foot  while  both  hands  are  patting 
knees,  then  adds  left  foot.  The  next  time  he  shakes  his  head,  then 
stands  up,  keeping  all  the  motions  going  at  the  same  time. 

This  is  a  very  amusing  game  for  small  children,  making  noise 
enough,  and  yet  not  being  boisterous. 

HUNT   THE   RING. 

The  players  stand  in  a  circle,  holding  a  long  cord  forming  an 
endless  band,  upon  which  a  ring  has  previously  been  slipped. 

This  ring  is  passed  rapidly  from  one  player  to  another,  always 
concealed  by  the  hands,  while  somebody  in  the  center  endeavors  to 
seize  the  hands  of  the  person  who  holds  it,  who,  when  actually  caught, 
takes  his  place  within  the  circle. 

If  the  circle  is  very  large  two  rings  may  be  slipped  upon  the  cord 
and  two  players  placed  in  the  center  together. 

A  small  key  is  often  used  instead  of  a  ring,  while  still  another 
variation  is  to  have  the  concealed  object  a  small  whistle  with  a  ring 
attached.  When  this  is  adopted  an  amusing  phase  of  the  game  is 
to  secretly  attach  a  string  to  the  whistle,  and  fasten  this  to  the  back 
of  the  player  in  the  center  by  means  of  a  bent  pin  at  the  other  end 
of  the  string. 

Then,  while  feigning  to  pass  the  whistle  from  hand  to  hand,  it 
is  occasionally  seized  and  blown  upon  by  some  one  in  the  ring,  toward 
whom  the  victim  is  at  that  moment  turning  his  back,  causing  that 
individual  to  be  greatly  puzzled. 

THE  RULE   OF   CONTRARY. 

All  the  players  stand  up,  taking  hold  of  the  sides  of  a  hand- 
kerchief. The  leader  says :  "  When  I  say  '  hold  fast '  let  go ;  when 


SOCIAL  PLAYS  AND   GAMES.  61 

T  say  '  let  go  '  hold  fast."  He  then  says,  "  Let  go  "  or  "  hold  fast," 
as  he  may  feel  inclined.  When  he  says,  "Let  go,"  those  who  do  not 
hold  fast  pay  forfeits ;  when  he  says,  "  Hold  fast,"  all  who  do  not 
immediately  let  go  are  punished  in  like  manner. 

THE  BAT  HUNT. 

All  the  players  seat  themselves  in  a  circle,  one  of  them  being  sup- 
plied with  a  stick,  toy,  or  other  implement  with  which  to  make  a 
scratching  noise  on  the  floor.  The  player  who  acts  as  cat,  stands 
upon  the  center.  The  holder  of  the  toy  watches  an  opportunity  to 
scratch  on  the  floor  with  the  toy,  when  the  cat  is  not  looking  in  his 
direction.  The  latter  turns  quickly  around  to  detect,  and,  if  possible, 
to  seize  the  instrument  from  the  scratcher. 

The  scratcher.  however,  passes  the  toy  to  another,  and  so  on,  the 
person  holding  it  sounding  it  whenever  the  cat's  attention  is  turned 
in  an  opposite  direction.  If  the  cat  succeeds  in  detecting  a  player 
and  seizing  the  toy  from  him,  they  change  places,  the  detected 
scratcher  becoming  cat  in  his  turn. 

THE   BAG   OF   LUCK. 

The  "  bag  of  luck  "  is  a  decorated  paper  bag  suspended  in  a  door- 
way  at  a  convenient  height;  the  children,  blindfolded,  are  given 
three  trials  to  break  it  with  the  pretty  ribbon-wound  wands  provided 
for  the  purpose.  These  sticks  are  given  afterwards  as  souvenirs  of 
the  evening.  The  child  who  succeeds  in  making  the  first  hole  in  the 
bag  is  entitled  to  a  prize,  but  all  share  its  contents.  It  is  usually  filled 
with  confectionery,  but  flowers  may  be  substituted  when  candy  is  con- 
sidered objectionable. 

THE   SILENT   CONCERT. 

In  this  performance  the  company  for  the  time  imagine  themselves 
to  be  a  band  of  musicians.  The  leader  of  the  band  is  supposed  to 
furnish  each  of  the  performers  with  a  different  musical  instrument. 
Consequently,  a  violin,  a  harp,  a  flute,  a  piano,  a  jew's-harp,  and  any- 
thing else,  are  all  to  be  performed  upon  at  the  same  time.  The  leader 
begins  playing  a  tune  on  his  imaginary  violoncello,  or  whatever  else 
it  may  be,  imitating  the  way  of  performing  it.  The  others  all  do  the 
same,  the  sight  presented  being,  as  may  well  be  imagined,  exceedingly 
ludicrous.  In  the  midst  of  it  the  leader  quite  unexpectedly  stops 
playing  and  makes  an  entire  change  in  his  attitude,  substituting  for 
his  own  instrument  one  belonging  to  some  one  else.  As  soon  as  he 
does  this,  the  performer,  who  has  been  thus  unceremoniously  deprived 
of  his  instrument,  takes  that  of  his  leader  and  performs  on  it  instead. 
Thus  the  game  is  continued,  everyone  being  expected  to  carefully 
watch  the  leader's  actions  and  to  be  prepared  at  any  time  to  make  a 


62  SOCIAL  PLAYS  AND   GAMES. 

sudden  change.  Forfeits  are,  of  course,  in  order  when  the  player 
whose  instrument  has  been  appropriated  fails  to  immediately  imitate 
the  motions  which  the  leader  has  just  abandoned. 

THE   CUSHION  DANCE. 

A  hassock  is  placed  end  upward  in  the  middle  of  the  floor,  round 
which  the  players  form  a  circle,  with  hands  joined,  having  first 
divided  into  two  equal  parties.  The  adversaries,  facing  each  other, 
begin  by  dancing  round  the  hassock  a  few  times;  then  suddenly  one 
side  tries  to  pull  the  other  forward,  so  as  to  force  one  of  their  number 
to  touch  the  hassock  and  to  upset  it.  The  struggle  that  necessarily 
ensues  is  a  source  of  great  fun,  causing  even  more  merriment  to  spec- 
tators than  to  the  players  themselves.  At  last,  in  spite  of  the  utmost 
dexterity,  down  goes  the  hassock  or  cushion,  whichever  it  may  be. 
Some  one's  foot  is  sure  to  touch  it  before  very  long,  when  the  unfor- 
tunate individual  is  dismissed  from  the  circle  and  compelled  to  pay  a 
forfeit. 

SILENT   QUAKER. 

The  company  seat  themselves  so  that  each  one  can  whisper  to  his 
next  neighbor  on  his  right.  When  all  are  ready  the  whispering 
begins.  Each  one  tells  his  next  neighbor  to  do  some  absurd  thing. 
When  every  one  has  received  a  commission,  the  leader  announces, 
"  The  meeting  has  begun."  All  join  hands  and  solemnly  shake  them, 
after  which  no  one  must  speak  or  laugh.  Each  one  in  turn  performs 
his  commission  with  solemnity.  Anyone  who  laughs  or  speaks  pays 
a  forfeit. 

Suggestions  for  commissions:  One  might  be  ordered  to  make  a 
pantomime  speech,  another  told  to  dance  a  jig,  another  commissioned 
to  sing  by  action.  A  gentleman  might  be  told  to  play  barber  or 
dentist,  another  might  offer  to  eat  a  philopena,  etc. 

THE   COBWEB   PARTY. 

In  preparation  for  this  amusing  pastime  two  balls  of  string  of 
contrasting  colors  are  requisite,  one  color  being  for  the  ladies,  the 
other  for  the  gentlemen.  Also  as  many  gifts  or  favors  (two  of  every 
kind)  as  expected  guests.  Tie  from  the  chandelier  in  the  parlor  the 
strings  and  twine  them  around  various  articles  of  furniture,  proceed- 
ing in  different  directions  with  each  string.  They  can  be  carried 
into  other  rooms,  and  even  upstairs  by  twining  around  the  banisters. 
When  the  first  strings  have  been  carried  far  enough,  break  them  from 
the  balls  and  to  these  ends  attach  favors.  Then  go  back  to  the  chan- 
delier, tie  other  strings,  and  make  other  goals  by  attaching  favors 
until  there  is  the  required  number.  The  cobweb  is  then  complete. 
When  the  guests  have  all  assembled  and  it  is  desired  to  begin  the 


SOCIAL  PLAYS  AND   GAMES.  63 

game,  they  must  gather  around  the  chandelier  and  to  each  one  is  given 
one  of  the  strings.  At  a  given  signal  each  member  of  the  party 
begins  following  the  course  of  his  or  her  string,  winding  into  balls  as 
they  proceed  toward  their  goal.  As  the  favors  are  discovered  the 
finders  return  to  the  parlor.  The  gentlemen  then  search  for  the 
ladies  holding  corresponding  favors  to  their  own  and  act  as  their 
escorts  until  after  refreshments  are  served.  Appropriate  gifts  are 
those  which  are. sold  as  "German  favors,"  as  they  can  be  used  in 
adorning  the  person,  and  thus  afford  a  great  deal  of  amusement. 

THROWING  THE  HANDKERCHIEF. 

The  company  being  seated  around  the  room  in  a  circle,  some  one 
stationed  in  the  center  throws  an  unfolded  handkerchief  to  one  of  the 
seated  players. 

Whoever  receives  it  must  instantly  throw  it  to  some  one  else,  and 
so  on,  while  the  person  in  the  center  endeavors  to  catch  the  handker- 
chief in  its  passage  from  one  player  to  another. 

If  he  catches  it  as  it  touches  somebody,  that  person  must  take  his 
place  in  the  center.  If  it  is  caught  in  the  air,  the  player  whose  hands 
it  last  left  enters  the  circle. 

The  handkerchief  must  not  be  knotted  or  twisted,  but  thrown 
loosely. 

THE   GIANTESS. 

Much  amusement  may  be  caused  by  performing  the  following: 
A  tall  gentleman  is  dressed  in  a  skirt.  Then  a  large  umbrella  is 
covered  over  with  a  gown  and  a  cloak,  a  ball  is  tied  on  the  point  of 
the  stick  above  the  dress,  and  a  bonnet  and  thick  veil  are  put  on  it. 
The  umbrella  is  partially  opened,  so  that  its  frame  sets  out  the  dress 
and  cloak  as  crinoline  does.  The  gentleman  gets  under  it  and,  hold- 
ing the  handle  up  as  high  as  he  can  grasp,  appears  like  a  gigantic 
woman.  Somebody  knocks  at  the  hall  door,  to  pretend  that  there  is 
an  arrival,  and  a  minute  or  two  afterwards  the  door  is  opened  and 
"  Miss  Little  Girl "  is  announced.  The  giantess  then  walks  into  the 
room,  bows,  etc.,  to  the  amusement  of  the  company. 

A  good  effect  is  produced  by  holding  the  umbrella  handle  naturally 
when  entering  and  then  raising  it  by  degrees,  giving  the  appearance 
of  a  startling  growth.  She  can  thus  appear  to  rise  till  she  peers  over 
the  tops  of  pictures.  She  may  talk  to  the  company  also,  bending 
her  head  down  toward  them  and  speaking  in  a  squeaking  tone  of 
voice. 

THE   GAME   OF  TRUSSED   FOWLS. 

Two  boys,  having  seated  themselves  on  the  floor,  are  trussed  by 
their  playmates ;  that  is  to  say,  each  boy  has  his  wrists  tied  together 


64  SOCIAL  PLAYS   AND   GAMES. 

with  a  handkerchief  and  his  legs  secured  just  above  the  ankles  with 
another;  his  arms  are  then  passed  over  his  knees,  and  a  broomstick  is 
pushed  over  one  arm,  under  both  knees,  and  out  again  over  the  other 
arm.  The  "  trussed  fowls  "  are  now  carried  into  th'e  center  of  the 
room  and  placed  opposite  each  other,  with  their  toes  just  touching. 
The  fun  now  begins,  as  each  fowl  endeavors,  with  the  aid  of  his  toes, 
to  turn  his  antagonist  over  on  his  back  or  side,  the  one  who  can  suc- 
ceed in  doing  this  winning  the  game.  It  frequently  happens  that 
both  .players  are  upset,  and  in  that  case  they  must,  of  course,  com- 
mence all  over  again. 

THE   CURTAIN  DONKEY. 

Cut  a  figure  of  a  donke}'  from  dark  paper  or  cloth,  and  fasten  it 
upon  a  sheet  stretched  tightly  across  a  doorway. 

The  donkey  is  minus  a  tail,  but  each  player  is  given  a  caudal 
appendage,  which  would  fit  his  donkeyship  if  applied.  To  each  tail 
is  attached  a  paper  bearing  the  name  of  the  person  holding  it,  and  it 
is  sometimes  further  adorned  by  a  small  bell  fastened  at  the  end. 

When  all  is  ready,  the  players  are  blindfolded  in  turn  and  placed 
facing  the  donkey  a  few  steps  back  in  the  room,  then  turned  around 
rapidly  two  or  three  times  and  told  to  advance  with  the  tail  held  at 
arm's  length,  and  with  a  pin  previously  inserted  in  the  end,  attach  it 
to  the  curtain  wherever  they  first  touch  it. 

When  the  whole  curtain  is  adorned  with  tails — not  to  mention  the 
furniture,  family  portraits,  etc.,  in  the  vicinity — the  one  fastening  the 
appendage  the  nearest  to  its  natural  dwelling  place  receives  a  prize. 
as  does  also  the  player  who  has  given  the  most  eccentric  position  to  the 
tail  intrusted  to  his  care. 

THE  PROMENADE   CONCERT. 

The  players  seat  themselves  in  a  circle,  each  adopting  a  musical 
instrument  on  which  he  is  supposed  to  be  the  performer.  As,  for 
instance,  one  chooses  the  violin,  and  draws  his  right  hand  backward 
and  forward  with  a  vigorous  action,  as  though  he  were  drawing  the 
bow  across  the  instrument.  Another  takes  the  cornet,  and  puffs  out 
his  cheeks  to  the  utmost  extent.  A  third  chooses  a  clarinet  and  rolls 
his  eyes  painfully.  Another  beats  an  imaginary  drum,  while  an- 
other, strumming  with  his  hands  upon  his  knees  or  a  table  (the  latter 
real  or  imaginary),  shows  that  the  piano  is  his  choice.  The  banjo, 
jewsharp,  comb  and  paper,  triangle,  cymbal,  tambourine,  hand 
organ,  may  all  be  represented.  Every  player  must  imitate  the  action 
and,  as  closely  as  possible,  the  sound  peculiar  to  his  adopted  instru- 
ment, selecting  any  tune  he  may  think  best  calculated  to  display  his 
powers.  Xo  two  players  are  allowed  to  play  the  same  tune,  and  the 
greatest  enthusiasm  must  be  thrown  into  the  performance. 


SOCIAL   PLAYS  AND   GAMES.  65 


(because  next  to   impossible)    and  the 
slightest  violation  6¥  'iij'costs  a  forfeit. 

The  conductor  takj$  his  place  in  the  center  of  the  circle,  sitting 
cross-legged  on  a  chsnir,  with  his  face  to  the  back  of  another  chair  on 
which  he  beats  time.  When  the  music  (?)  is  at  its  height,  and  the 
greatest  confusion  prevails,  the  leader  suddenly  singles  out  one  of  the 
performers  and  asks  him  why  he  is  at  fault.  The  person  thus  unex- 
pectedly pounced  upon  must  immediately  give  some  excuse  for  his 
want  of  accuracy,  which  excuse  must  be  in  keeping  with  the  nature  of 
his  instrument.  For  instance,  the  fiddler  replies  that  the  bridge  is 
broken  and  he  couldn't  get  across;  the  pianist,  that  he  has  left  one  of 
his  keys  of  his  instrument  at  home  on  his  dressing  table,  etc.  Any 
delay  in  this,  or  repetition  of  any  excuse  already  given,  costs  a  forfeit. 

BRING   BACK  WHAT  YOU  BORROW. 

Players  seat  themselves  around  the  room.  The  leader  assigns  a 
name  to  each  one;  i.  e.,  "  broomstick,"  "  dish  pan,"  "  necktie,"  "  wash- 
ing machine,"  etc.  When  each  one  has  been  named  the  leader  asks 
one  of  the  players  to  present  or  "  bring  back  "  one  of  the  other 
players  or  articles  that  he  has  borrowed.  The  player  takes  one  of 
the  other  players  to  anyone  in  the  room  that  he  chooses,  calling  him 
by  the  name  that  has  been  given  to  himself,  "  I  brought  back  your 
broomstick,"  etc.  The  one  who  has  been  brought  back  takes  another 
player  back,  and  the  game  continues  thus  until  every  one  has  had 
their  turn. 

HTTRLY  BURLY. 

The  players  are  seated  informally  about  the  room.  One  player 
chosen  to  be  leader  whispers  in  the  ear  of  each  one  some  action  to  be 
performed.  One  may  be  asked  to  "sing  a  song,"  "dance  a  jig." 
"  play  a  jewsharp,"  "  make  a  speech,"  etc.  When  all  have  been 
given  something  to  do  the  leader  calls  out,  "  Hurly  burly,"  then  all 
perform  the  different  act  simultaneously.  Anyone  failing  to  per- 
form at  the  proper  time  is  punished  by  walking  the  "  cedar  swamp," 
beginning  at  one  in  the  room  and  answering  questions  put  to,  him 
by  the  assembled  company,  stepping  forward  one  step  when  the 
answer  is  yes  and  backward  when  it  is  no.  A  very  amusing  parlor 
game. 

FLYING  CLOUD. 

The  players  sit  around  in  a  circle.  The  leader  stands  or  sits  in  the 
center  and  tosses  a  large  white  cloth  to  one  of  the  number  in  the 
circle.  The  cloth  'is  then  tossed  from  one  person  to  another,  the 
object  being  to  keep  it  away  from  the  player  in  the  center  as  long 


66  SOCIAL,  PLAYS   AND   GAMES. 

as  possible.  If  he  succeeds  in  catching  the  "  cloud,"  the  one  who 
failed  to  catch  takes  his  place.  A  lively  game  for  the  beginning  or 
closing  of  a  social  evening. 

HOW  DO  YOU  LIKE  YOUR  NEIGHBOR. 

The  players  are  divided;  half  of  the  number  are  seated  on  one 
side  of  the  room  and  the  other  half  on  the  opposite  side.  The  odd 
player  is  "  It."  He  approaches  one  of  the  players  and  asks,  "  How 
do  you  like  your  neighbor?  "  When  the  answer,  "  Very  well,  thank 
you,"  is  given  the  rows  exchange  places,  the  odd  player  trying  to 
secure  a  seat  in  the  meantime.  If  he  succeeds,  the  one  who  fails  to 
secure  a  seat  takes  his  place. 

SPIN  THE  PLATE. 

Players  are  seated  about  the  room,  with  one  of  the  number  stand- 
ing in  the  center  to  spin  the  plate.  As  he  does  this  he  calls  the  name 
of  one  of  the  company,  who  must  answer  by  trying  to  catch  the  plate 
before  it  stops  spinning.  If  he  succeeds,  he  takes  the  place*  of  the 
first  player;  if  he  fails,  he  may  be  given  a  forfeit. 

HANG   TAG. 

One  player  who  is  "  It "  changes  place  with  any  other  player 
whom  he  may  tag.  The  players  may  escape  being  tagged  by  hanging 
over  a  chair  or  any  other  obstacle  to  get  their  feet  off  the  floor.  They 
may  choose  places,  venturing  forth  but  a  little  way  each  time,  or 
they  may  take  daring  risks  by  running  clear  across  the  room  to 
exchange  with  another  player. 

HIGH  WINDOWS. 

All  of  the  players  but  one  join  hands  in  a  circle.  The  odd  player 
remains  on  the  inside  of  the  circle;  passing  around,  tags  one  of  the 
players  in  the  circle.  Then  they  both  run  around  the  outside,  the 
vacant  place  being  left  open.  The  one  who  was  tagged  tries  to 
tag  the  center  player  before  he  gets  around  the  circle  three  times. 
If  he  does  not,  the  players  call  "  High  window !  "  and  raise  their 
clasped  hands  to  let  both  of  the  players  inside.  Should  the  one 
who  is  being  chased  enter  the  circle  without  being  tagged,  he  takes 
his  place  with  the  other  players,  and  the  game  continues  with  the 
chaser  on  the  outside. 

HOUND  AND  RABBIT. 

This  game  is  suitable  for  a  large  number  of  players.  They  stand 
in  groups  of  three,  clasping  hands  to  form  a  circle  or  tree.  The 


SOCIAL  PLAYS  AND   GAMES.  67 

other  players  are  the  rabbits,  one  for  each  tree.  An  extra  player  is 
the  hound,  who  tries  to  catch  them  exchanging  places  with  each  other 
in  the  .trees.  No  two  rabbits  may  lodge  in  the  same  tree.  Any  hound 
may  become  a  rabbit  by  dodging  into  the  last  empty  tree,  if  he  can, 
leaving  the  slow  player  to  be  the  hound  as  the  game  continues. 

HOW  MANY  MILES  TO  BABYLON? 

The  players  form  two  lines  and  stand  facing  each  other,  consider- 
able distance  being  left  between  the  lines.  The  players  in  each  line 
number  off  by  twos.  The  following  dialogue  takes  place,  the  players 
of  each  line  answering  in  unison.  They  sway  back  and  forth  in  time 
to  the  words,  swinging  the  hands  and  changing  the  feet  as  they 
sway.  The  time  should  be  rapid.  The  first  line  asks : 
"How  many  miles  to  Babylon?" 

Second  line  answers: 

"  Only  three  score  and  ten." 

"Will  we  be  there  by  caudle  light?" 

"  Yes,  and  back  again." 

"  Open  your  gates  and  let  us  through." 

"Not  without  a  beck  and  a  boo  (bow)." 

"  Here's  a  beck  and  here's  a  sou, 

Open  your  gates  and  let  us  through." 

At  the  words  "  Here's  a  beck  and  here's  a  boo  "  the  players  suit 
the  words  to  action  by  placing  the  hands  upon  the  hips  for  a  beck 
and  making  a  bow,  assume  an  erect  position,  and  turn  the  head  to 
the  right  for  "  Here's  a  side  and  here's  a  sou."  Then  the  partners 
clasp  hands  and  run  forward  eight  steps' in  the  same  rhythm  as  the 
dialogue  gives,  each  couple  passing  under  the  arms  of  the  opposite 
couple  with  upraised  hands,  representing  the  gates  of  the  city. 
Having  taken  the  eight  steps,  the  running  couples  turn  around,  facing 
the  city  gates  from  the  other  side.  This  is  done  in  four  running  steps, 
making  twelve  steps  in  all.  The  couples  who  were  the  gates  turn 
around  in  four  steps,  making  sixteen  steps  in  all,  and  they  in  turn 
repeat  the  first  line  of  the  dialogue,  and  the  game  goes  on  with  the 
other  line  representing  the  gates  of  the  city. 

O 


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